Ein Gespräch mit Cornelia Ulbert zur Governance von Risiken zwischen wissenschaftlicher Analyse und politischer Aushandlung. Die Fragen stellte Karsten Schubert.

The purpose of this article is twofold: on the one hand, we present the outlines of a history of university collections in Germany. On the other hand, we discuss this history as a case study of the changing attitudes of the sciences towards their material heritage. Based on data from 1094 German university collections, we distinguish three periods that are by no means homogeneous but offer a helpful starting point for a discussion of the entangled institutional and epistemic factors in (...) the history of university collections. In the 19th century, university collections were institutionalized and widely recognized as indispensable in research and teaching. During the 20th century, university collection became increasingly marginalized both on an institutional and theoretical level. Towards the end of the 20th century, the situation of university collections improved partly because of their reconsideration as material heritage. (shrink)

Most defenders of the new mechanistic approach accept ontic constraints for successful scientific explanation (Illari 2013; Craver 2014). The minimal claim is that scientific explanations have objective truthmakers, namely mechanisms that exist in the physical world independently of any observer and that cause or constitute the phenomena-to- be-explained. How can this idea be applied to type-level explanations? Many authors at least implicitly assume that in order for mechanisms to be the truthmakers of type-level explanation they need to be regular (Andersen (...) 2012; Sheredos 2015). One problem of this assumption is that most mechanisms are (highly) stochastic in the sense that they “fail more often than they succeed” (Bogen 2005; Andersen 2012). How can a mechanism type whose instances are more likely not to produce an instance of a particular phenomenon type be the truthmaker of the explanation of that particular phenomenon type? In this paper, I will give an answer to this question. I will analyze the notion of regularity and I will discuss Andersen's suggestion for how to cope with stochastic mechanisms. I will argue that her suggestion cannot account for all kinds of stochastic mechanisms and does not provide an answer as to why regularity grounds type-level explanation. According to my analysis, a mechanistic type- level explanation is true if and only if at least one of the following two conditions is satisfied: the mechanism brings about the phenomenon more often than any other phenomenon (comparative regularity) or the phenomenon is more often brought about by the mechanism than by any other mechanism/causal sequence (comparative reverse regularity). (shrink)

Leuridan (2011) questions whether mechanisms can really replace laws at the heart of our thinking about science. In doing so, he enters a long-standing discussion about the relationship between the mech-anistic structures evident in the theories of contemporary biology and the laws of nature privileged especially in traditional empiricist traditions of the philosophy of science (see e.g. Wimsatt 1974; Bechtel and Abrahamsen 2005; Bogen 2005; Darden 2006; Glennan 1996; MDC 2000; Schaffner 1993; Tabery 2003; Weber 2005). In our view, (...) Leuridan misconstrues this discussion. His weak positive claim that mechanistic sciences appeal to generalizations is true but uninteresting. His stronger claim, that all causal claims require laws, is unsupported by his arguments. Though we proceed by criticizing Leuridan’s arguments, our greater purpose is to embellish his arguments in order to show how thinking about mechanisms enriches and transforms old philosophical debates about laws in biology and provides new insights into how generalizations afford prediction, explanation and control. (shrink)

Gregory La Cava’s 1936 screwball comedy film My Man Godfrey is structured by consubstantiality, which will be defined here as the reification of a second, oppositional element in response to the negation of a first. Because the second element is conditioned by the very thing it negated, a third element is required to reverse the (subjective) point of view as corollary to the first, objective reversal. The film takes place in the depths of the Great Depression; its story centers on (...) the discovery and restoration of ‘the forgotten man’, represented by Godfrey Parke, who has renounced his wealth and social position to live in a shanty-town under the pseudonym of Smith following a failed love-affair. After being ‘claimed’ during a scavenger hunt, he becomes the butler of the family of a New York industrialist, Alexander Bullock. One daughter, Irene, falls in love with him; the other, Cornelia, attempts to frame him by planting ‘stolen’ pearls. Godfrey eludes her trap and uses collateral from the pearls to invest in the futures market, where he rescues his host’s company’s shares to save the family from ruin. With surplus funds he reclaims the shanty-town site and builds a modernist night-club, employing his former ‘forgotten men’ companions. Consubstantiality is played out visually and dramatically. Its component parts are encoded into a visual paradigm to demonstrate the toroidal logic that connects consubstantiality to Jacques Lacan’s theories of discourse and sexuation. Here, topology qualifies Freud’s contention that ‘Psyche is extended; knows nothing of it’ by showing how the non-orientation of the 2-d manifold becomes the self-intersecting traps of 3-d immersion – traps that are already well-known as dramatic devices. (shrink)

Two metascientific concepts that have been ― and still are ― object of philosophical analysis are the concepts of model and theory. But while the concept of scientific theory was one of the concepts to which philosophers of science devoted most attention during the 20th century, it is only in recent decades that the concept of scientific model has come to occupy a central position in philosophical reflection. However, it has done so in such a way that, at present, as (...) Jim Bogen states in the back cover of the book Scientific Models in the Philosophy of Science, by Daniela Bailer-Jones, “[t]he standard philosophical literature on the role of models in scientific reasoning is voluminous, disorganized, and confusing”. In spite of this, one of the axes that would allow us to organize at least part of this literature, and with which Bailer-Jones’ book closes, is that which is identified as one of the “contemporary philosophical issues: how theories and models relate to each other” (Bailer-Jones 2009, p. 208).That is why, in this introduction to the special issues of Metatheoria devoted to the topic of “Models and Theories in Biology”, we will present the main advances that have been made in the philosophical analysis of the concepts of model and theory in general and in biology in particular, and we will also do the same with the answers that have been given to the problem of "how theories and models relate to each other”. (shrink)

The last two decades have seen a rising interest in (a) the notion of a scientific phenomenon as distinct from theories and data, and (b) the intricacies of experimentally producing and stabilizing phenomena. This paper develops an analysis of the stabilization of phenomena that integrates two aspects that have largely been treated separately in the literature: one concerns the skills required for empirical work; the other concerns the strategies by which claims about phenomena are validated. I argue that in order (...) to make sense of the process of stabilization, we need to distinguish between two types of phenomena: phenomena as patterns in the data ( surface regularities ) and phenomena as underlying (or hidden ) regularities. I show that the epistemic relationships that data bear to each of these types of phenomena are different: Data patterns are instantiated by individual data, whereas underlying regularities are indicated by individual data, insofar as they instantiate a data pattern. Drawing on an example from memory research, I argue that neither of these two kinds of phenomenon can be stabilized in isolation. I conclude that what is stabilized when phenomena are stabilized is the fit between surface regularities and hidden regularities. (shrink)

Die Breslauer Sprechbühnen wiesen in der Zeit des Nationalsozialismus Tendenzen auf, die für das gesamte Theaterleben Deutschlands charakteristisch waren. Die politische Instrumentalisierung der dramatischen Kunst, wie des ganzen literarischen Lebens, resultierte aus dem zentralen, von dem Reichsministerium für Volksaufklärung und Propaganda postulierten Programm, das den Theatern außcrästhetische Propaganda- und F.rziehungsaufgabcn zuschrieb. Die Hauptfrage - nach der Spielplangestaltung - traf auch für die wichtigsten Verfasser der damaligen Literatur zu, zu denen sicher der eng mit der schlesischen Provinz verbundene Gerhart Hauptmann gehörte. (...) Seine Stellung nach dem Jahre 1933 war keineswegs eideutig und sie bestätigte nur die komplizierten Verhältnisse zwischen ihm und dem Regime, das aus Propagandagründen sein Schaffen selektiv akzeptierte. In den ersten Jahren nach der Machtergreifung spielten deutsche Theater nur wenige Stückre Hauptmanns, in Breslau sogar keine. Erst 1935 brachte das Lobetheater die Aufführung der Komödie Der Biberpelz. Zwei Jahre später (anläßlich Hauptmanns 75. Geburtstages) spielte man im Breslauer Schauspielhaus, das seit 1936 die einzige Sprechbühne war, das Drama Michael Kramer. In Anwesenheit des Dichters fand hier auch die Uraufführung des Filmes Der Biberpelz statt. 1938 gastierte mit einem eigenen Ensemble der Staatsschauspieler Paul Wegener mit der Inszenierung von Kollege Crampton in Breslau. Erst zwei Jahre später (Jan. 1940) nahm das Theater in Breslau Hauptmanns Werk wieder in das Repertoire auf. Die Aufführung des Schauspiels Elga, dessen Motive aus Grillparzers Drama entnommen wurden, verursachte heftige Proteste mancher Regime-Ideologen (einschließlich Alfred Rosenbergs) wegen der polnischen Thematik des Dramas. Im Jahre 1941 inszenierte das Breslauer Schauspielhaus das Stück Der Bogen des Odysseus (die erste Aufführung war am Osternsonntag), im März 1942 die Tragödie Rose Bernd. Eine besondere Bedeutung kommt dem 80. Jubiläum des Dichters (Nov. 1942) zu. Die zentralen Feierlichkeiten dazu wurden von der Theaterabteilung des Goebbelschen Propagandaministeriums nach Breslau verlegt. Nach zahlreichen Kontroversen und Abstimmungen beschloß man im Schauspielhaus 4 Dramen zu spielen: Michael Kramer, Die Tochter der Kathedrale, Und Pippa tanzt und Der Biberpelz. Hauptmann verlieh man auch den Schliesischen Literaturpreis. Außerdem wurde er zum Ersten Ehrenbürger der Friedrich-Wilhelm-Universität ernannt. Das Deutsche Institut der Breslauer Universität veröffentlichte aus diesem Anlaß ein dem Jubilar gewidmetes Gedenkblatt, das verschiedene Aspekte seines Schaffens zum Thema hatte. Auch das Reichspropagandaamt Schlesien bereitete eine Broschüre vor, die das Interesse der Partei betonen sollte. Die Krönung des Jubiläums war die Gesamtausgabe von Hauptmanns Werken, deren erstes Exemplar dem Dichter überreicht wurde. Unter den zahlreichen Wünschen, die Gerhart Hauptmann zu seinem Geburtstage bekam, befanden sich auch Telegrammme von Hitler, Goebbels und Schlösser. Das letzte in Breslau inszenierte Drama Hauptmanns war Imphigenie in Delphi, dessen Erstaufführung am 5. Dez. 1943 im Schauspielhaus stattfand. (shrink)

Romania and the United States of America share some history that is similar in many respects. Both states have struggled to gain their independence, their sovereignty, and historical recognition. That in which they have followed a different path was about the civilization pattern in which each of the two states was established. We need to remind here and pay all the due respect to them, the Romanian and American historians who have dealt with the early issues of the US-Romanian relations, (...) that is Paul Cernovodeanu, Cornelia Bodea, Ion Stanciu, Dumitru Vitcu, Constantin Bușe, Keith Hitchins, Stephen FischerGalați, Radu R. Florescu, James F. Clarke, and many others. (shrink)

Preliminary Material /Reto Rössler, Tim Sparenberg and Philipp Weber -- Kosmos & Kontingenz /Reto Rössler, Tim Sparenberg and Philipp Weber -- "De la théorie à la pratique“ /Eva Marie Noller -- Mittelalterliche Kosmologie und Kontingenz /Cornelia Selent -- Kontingenz der Stimmen im Kosmos der Lettern -,Atomologie', Technologie und William Baldwins Beware the Cat /Ronja Bodola -- Hypothese, Abweichung und Traum Keplers Ellipsen /Reto Rössler -- "Nur leerer Raum und Schatten“ /Hartmut Böhme -- Gewissheit als sentiment /Christian Reidenbach -- Poiesis (...) im "Gegenhalt“ der anderen Welten: Epistemische und kosmologische Kontingenz bei Breitinger und Brockes /Johannes Wankhammer -- Ungereimtheit - Poesie und Prosa um 1755 /Wolfgang Hottner -- "Es giebt freylich unzähliche Welten“ /Tim Sparenberg -- Kontingenz, Ordnung und realer Grund bei Kant /Thijs Menting -- Im Grunde das Regellose /Philipp Weber -- Kontingenz und Latenz /Helmut Müller-Sievers -- Revolution in Permanenz: Auguste Blanquis Ewigkeit durch die Sterne /Alexandra Heimes -- "Kosmische Gesetze“? /Elisa Ronzheimer -- Vom unendlichen Universum zur Dialektik der Kontingenz /Thomas Ebke -- Stetigkeit im kosmischen Diskontinuum /Timothy Attanucci -- Versuch einer Kosmologie des Performativen in der Kunst /Maximilian Haas -- Kosmopolitismus und Internationalismus: Zwei Modelle, zwei Erbschaften /Étienne Balibar -- Vom kontingenten Kosmos zur Kosmopolitik /Karin Harrasser -- Auswahlbibliographie /Reto Rössler, Tim Sparenberg and Philipp Weber -- Begriffsregister /Reto Rössler, Tim Sparenberg and Philipp Weber -- Autorinnen und Autoren /Reto Rössler, Tim Sparenberg and Philipp Weber. (shrink)