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

ABSTRACT Temporal dynamists argue that we should believe that there exists temporal passage because there being passage is the best explanation for the presence of our temporal phenomenology. Presentists argue that presentism is the best version of temporal dynamism. Therefore, conditional on us accepting temporal dynamism, we should accept presentism. In this paper it is argued that if we understand temporal passage as the presentist does, such an argument can succeed only if dualism is true. Thus, we conclude, either presentists (...) should embrace dualism, or they should reject any argument for presentism that proceeds via any such argument for temporal passage that proceeds via considerations of what best explains our temporal phenomenology. (shrink)

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)

This special issue deals with the emerging debate on robo- ethics, the human ethics ap- plied to robotics. Is a specific ethic applied to robotics truly neces- sary? Or, conversely, are not the gen- eral principles of ethics adequate to answer many of the issues raised by our field’s applications? In our opin- ion, and according to many roboticists and human scientists, many novel issues that emerge and many more that will show up in the immediate future, arising from the (...) upcoming marketed robotics products, demand the development of new cultural and legal tools that can provide the crucial answers to the most sensitive questions. (shrink)

Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws (...) a parallel between the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. (shrink)

In Bernhard's novel Correction, a Cambridge professor sets himself the task of building an ideal house for his sister in the middle of a forest. The projected house is a Cone with which he seeks to make the art of construction approach “philosophical art in the highest degree”. The lines of connection with the biography of Ludwig Wittgenstein (1889-1951) are clear. Isn't it tempting to define Wittgenstein's philosophy with a simile of Loos' sweeping and cleaning operation in architecture and (...) design? I believe that Loos's critical stripping of the function/form/use triad served as an encouragement to Wittgenstein's thinking. For the philosopher, the meaning of a concept is in itself as rules of the game; it is nothing without its meaning and its meaning is nothing but its own use in the language games in which it may appear. A word, for example, becomes an interjection of assent by the game in which it appears, not by the form of the word. Wittgenstein thought that the greatest mistake of the philosophers of his generation, including G. E. Moore, was that when they analyzed language what they considered were word-forms and not the use made of those word-forms. How can one not find in these remarks of Wittgenstein's an echo of Loos's formula “meaning is use”? -/- En Corrección, la novela de Bernhard, un catedrático de Cambridge se da a la tarea de construir una casa ideal para su hermana en el centro de un bosque. La casa proyectada es un Cono con el que busca que el arte de la construcción se acerque “al arte filosófico en el más alto grado”. Las líneas de conexión con la biografía de Ludwig Wittgenstein (1889-1951) son claras. ¿No resulta tentador definir la filosofía de Wittgenstein con un símil de la operación de barrido y limpieza que realizó Loos en la arquitectura y el diseño? Creo que el despojamiento crítico que hizo Loos de la tríada función/forma/uso sirvió de aliento al pensamiento de Wittgenstein. Para el filósofo, el significado de un concepto está en él mismo como reglas del juego; no es nada sin su significado y su significado no es nada sino su propio uso en los juegos de lenguaje en que puede aparecer. Una palabra, por ejemplo, se convierte en interjección de asentimiento por el juego en que aparece, no por la forma de la palabra. Wittgenstein pensaba que el mayor error de los filósofos de su generación, incluido G. E. Moore, era que cuando analizaban el lenguaje lo que consideraban eran formas de palabras y no el uso que se hacía de esas formas de palabras. ¿Cómo no encontrar en estas observaciones de Wittgenstein un eco de la fórmula de Loos “el significado es el uso”? (shrink)

Studies on difficulties in understanding scientific terms have shown that the problem is more serious among non-Western learners. The main reasons for this are the learners' pre-existing knowledge of scientific terms, their native language incommensurability with Western languages, and the polysemy of the words used to denote scientific concepts. The current study is an analysis of the conceptualisation of scientific concepts in two culturally different languages, i.e. Arabic and French, which represent a non-Western language and a Western language respectively. Physics (...) concepts which are considered as some of the most challenging concepts for non-Western languages (Loo 2005; Aranador 2005) were selected for analysis. To this end, the terms that refer to two physics concepts, "weight" and "mass" in Arabic وَزْن (wazn) and كُتْلَة (kutla) and in French poids and masse were semantically analysed. The analysis of the concepts in both languages is informed by the prototype theory by Rosch (1973; 1975), idealised cognitive models (ICMs) by Lakoff (1987), and conceptual metaphor and conceptual metonymy by Lakoff and Johnson (2003). The data for analysis were retrieved from two comparable Arabic and French corpora, namely the ArabiCorpus and the Concordancier-Corpus Français. The results suggest that there are both similarities and differences between the Arabic and French concepts in terms of meanings, prototypes, and metaphorical as well as metonymic semantic extensions. These findings support the argument that the human conceptual system is related to our environmental and cultural experiences and also importantly, validate previous claims on the need for educators to be cognizant of the culturally relevant meanings of scientific words found in everyday language that may impede learners' understanding of scientific concepts. (shrink)

The twentieth-century obsession with meaning often fails to address the central questions: Why are we here? Where are we going? In this radical critique of modernity, Eugene (Rochberg-) Halton resurrects pragmatism, pushing it beyond its traditional formulations to meet these questions head on. Drawing on the works of the early pragmatists such as John Dewey, George Herbert Mead, and particularly C.S. Peirce, Meaning and Modernity is an ambitious attempt to reconstruct concepts from philosophical pragmatism for contemporary social theory. Through a (...) vigorous and illuminating dialogue with other perspectives in the social sciences, (Rochberg-) Halton reveals the value of the pragmatic attitude as a mode of thought, one which speaks to the contemporary hunger for significance in a world where rationalized technique has all too often severed subject and object from their living context... Throughout the work is a sustained critique of modern culture in which (Rochberg-) Halton brings his reconstruction of the pragmatic atttude to bear on twentieth-century thought and its counterparts in the expressive arts. His engaging analysis encompasses figures as diverse as Simmel, Freud, Wittgenstein, Schoenberg, Adolph Loos, Mumford, Melville, the "Vienna School of Fantastic Realism," and Doris Lessing. The author's semiotic approach to culture allows him to move freely and easily across many disciplines, including anthropology, sociology, communications, art, literature, and philosophy. This is a work of rare originality and power that is sure to provoke discussion, for Rochberg-Halton creates new premises for understanding the human web of meaning. In a review published in the London Times Literary Supplement, Charles Townshend said that (Rochberg-) Halton's, “answer to the dilemma of modernity is a still more striking synthesis, which he labels ‘critical animism’ (as distinct from primitive animism). Meaning and Modernity belies its conventional exterior: it is a passionate tract against the 'diabolical tyranny of the rational'...He pits his researches into the attitudes of Chicagoans to their household goods and to their city against the abstract semioticians who have emptied signs of their capacity to 'live objectively in the transactions people have with them'...Such humanism will probably strike his fellow social theorists as downright weird, but his work shows that the cracking shell of modernism will provide a rich intellectual agenda.”. (shrink)

This collection of essays explores what makes modern mathematics ‘modern’, where ‘modern mathematics’ is understood as the mathematics done in the West from roughly 1800 to 1970. This is not the trivial matter of exploring what makes recent mathematics recent. The term ‘modern’ (or ‘modernism’) is used widely in the humanities to describe the era since about 1900, exemplified by Picasso or Kandinsky in the visual arts, Rilke or Pound in poetry, or Le Corbusier or Loos in architecture (a (...) building by the latter graces the cover of this book’s dust jacket). (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)

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)