Results for 'Eszter Horváth'

19 found
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  1. Deleuze/Derrida: la doublure de la différance.Eszter Horvath - manuscript
    Les pensées de la différence selon Gilles Deleuze et Jacques Derrida se touchent dans leur sujet même, le Sujet qui « fait des histoires et des scènes » construisant le même système différentiel, le monde. C’est ce qui assure une sorte de continuité entre les deux philosophies. Concernant les « thèses » il n’y a aucune différence entre Deleuze et Derrida. Et pourtant, ils ne se laissent pas unir dans une seule et même philosophie de la différence. Les deux histoires (...)
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  2.  29
    La différence : l’entre-deux à l’œuvre.Eszter Horváth - manuscript
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  3. Experimental Ordinary Language Philosophy: A Cross-Linguistic Study of Defeasible Default Inferences.Eugen Fischer, Paul E. Engelhardt, Joachim Horvath & Hiroshi Ohtani - forthcoming - Synthese:1-42.
    This paper provides new tools for philosophical argument analysis and fresh empirical foundations for ‘critical’ ordinary language philosophy. Language comprehension routinely involves stereotypical inferences with contextual defeaters. J.L. Austin’s Sense and Sensibilia first mooted the idea that contextually inappropriate stereotypical inferences from verbal case-descriptions drive some philosophical paradoxes; these engender philosophical problems that can be resolved by exposing the underlying fallacies. We build on psycholinguistic research on salience effects to explain when and why even perfectly competent speakers cannot help making (...)
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  4. Taking the Metaphysics of Knowledge Seriously: A Response to the Paper of Sven Bernecker.Joachim Horvath - 2015 - In Andreas Speer, Wolfram Hogrebe & Markus Gabriel (eds.), Das Neue Bedürfnis Nach Metaphysik / the New Desire for Metaphysics. De Gruyter. pp. 181-188.
    In his “On the Metaphysics of Knowledge” (this volume), Sven Bernecker presents a novel ‘identificationist’ account of knowledge. In this paper, I will not directly address the epistemological adequacy of Bernecker’s identificationism. Rather, I want to focus on its substantial metaphysical commitments, especially on the problematic idea that our epistemic reasons identify the truthmaker of our respective belief when we know something. My conclusion will be that being a truthmaker for p is metaphysically more demanding than being an epistemic reason (...)
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  5. Whose Shoes? Identity in Works of Art.Gizela Horvath - 2011 - Synthesis Philosophica 26 (2):283-297.
    The problem of identity in the world of art is relevant from many perspectives. This paper aims at discussing the identity of the work of art. The discussion is built in three steps: the problem of identification of an object as work of art, the problem of the relevant properties of a work of art and the question of the author of the work of art as decisive (or not) for the identification of a work of art. These issues are (...)
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  6.  19
    Between Conflict and Consensus: Why Democracy Needs Conflicts and Why Communities Should Delimit Their Intensity.Szilvia Horváth - 2018 - Zeitschrift für Kritische Sozialtheorie Und Philosophie 5 (2):264-281.
    The contemporary agonist thinker, Chantal Mouffe argues that conflicts are constitutive of politics. However, this position raises the question that concerns the survival of order and the proper types of conflicts in democracies. Although Mouffe is not consensus-oriented, consensus plays a role in her theory when the democratic order is at stake. This suggests that there is a theoretical terrain between the opposing poles of conflict and consensus. This can be discussed with the help of concepts and theories that seem (...)
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  7. Testimony, Transmission, and Safety.Joachim Horvath - 2008 - Abstracta 4 (1):27-43.
    Most philosophers believe that testimony is not a fundamental source of knowledge, but merely a way to transmit already existing knowledge. However, Jennifer Lackey has presented some counterexamples which show that one can actually come to know something through testimony that no one ever knew before. Yet, the intuitive idea can be preserved by the weaker claim that someone in a knowledge-constituting testimonial chain has to have access to some non-testimonial source of knowledge with regard to what is testified. But (...)
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  8. Tükröm, tükröm... Az önarckép lehetőségei a kortárs képzőművészetben.Gizela Horvath - 2012 - Korunk (9):19-28.
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  9. Extended Aesthetic Experience in Contemporary Art.Gizela Horváth - 2014 - Pragmatism Today 5 (2):67-72.
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  10. A művészeti világ peremén. Az 55. Biennále esete.Gizela Horvath - 2013 - Korunk (12):09-19.
    On the Periphery of the Artworld. The Case of the 55th Venice Biennale -/- The Venice Biennale is sort of a patent agency for art: if a work is exhibited at the Biennale, it is already regarded as being in the center of the contemporary artworld. This year the peculiarity of the Biennale was the emphasis on peripheral works: outsider art is brought to the center of the artworld. The notion of outsider art is paved with contradictions – it’s difficult (...)
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  11. WHY THE BRILLO BOX? THE RECOVERY OF THE AESTHETIC.Gizela Horvath - 2013 - In Applied Social Sciences: Philosophy and Theology.
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  12.  58
    The Hard Problem of ‘Educational Neuroscience’.Kelsey Palghat, Jared C. Horvath & Jason M. Lodge - 2017 - Trends in Neuroscience and Education 6:204-210.
    Differing worldviews give interdisciplinary work value. However, these same differences are the primary hurdle to productive communication between disciplines. Here, we argue that philosophical issues of metaphysics and epistemology subserve many of the differences in language, methods and motivation that plague interdisciplinary fields like educational neuroscience. Researchers attempting interdisciplinary work may be unaware that issues of philosophy are intimately tied to the way research is performed and evaluated in different fields. As such, a lack of explicit discussion about these assumptions (...)
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  13.  75
    Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication.Gizela Horváth & Rozália Klára Bakó - 2016 - Santalka: Filosofija, Komunikacija 24 (1):48–58.
    Technical reproduction in general, and photography in particular have changed the status and practices of art. Similarly, the expansion of Web 2.0 interactive spaces presents opportunities and challenges to artistic communities. Present study focuses on artistic activism: socially sensitive artists publish their creation on the internet on its most interactive space – social media. These artworks carry both artistic and social messages. Such practices force us to reinterpret some elements of the classical art paradigm: its autonomy, authorship, uniqueness (as opposed (...)
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  14. “From Museum Walls to Facebook Walls”*. A New Public Space for Art.Gizela Horvath - 2014 - In Gizela Horvath, Rozalia Klara Bako & Eva Biro Kaszas (eds.), Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric. Partium Kiado. pp. 73-88.
    The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...)
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  15. Contemporary Legal Philosophising: Schmitt, Kelsen, Lukács, Hart, & Law and Literature, with Marxism's Dark Legacy in Central Europe (on Teaching Legal Philosophy in Appendix).Csaba Varga - 2013 - Szent István Társulat.
    Reedition of papers in English spanning from 1986 to 2009 /// Historical background -- An imposed legacy -- Twentieth century contemporaneity -- Appendix: The philosophy of teaching legal philosophy in Hungary /// HISTORICAL BACKGROUND -- PHILOSOPHY OF LAW IN CENTRAL & EASTERN EUROPE: A SKETCH OF HISTORY [1999] 11–21 // PHILOSOPHISING ON LAW IN THE TURMOIL OF COMMUNIST TAKEOVER IN HUNGARY (TWO PORTRAITS, INTERWAR AND POSTWAR: JULIUS MOÓR & ISTVÁN LOSONCZY) [2001–2002] 23–39: Julius Moór 23 / István Losonczy 29 // (...)
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  16.  7
    Development of Reaching to the Body in Early Infancy: From Experiments to Robotic Models.Matej Hoffmann, Lisa K. Chinn, Eszter Somogyi, Tobias Heed, Jacqueline Fagard, Jeffrey J. Lockman & Kevin J. O'Regan - 2017 - In 2017 Joint IEEE International Conference on Development and Learning and Epigenetic Robotics (ICDL-EpiRob). IEEE. pp. 112-119.
    We have been observing how infants between 3 and 21 months react when a vibrotactile stimulation (a buzzer) is applied to different parts of their bodies. Responses included in particular movement of the stimulated body part and successful reaching for and removal of the buzzer. Overall, there is a pronounced developmental progression from general to specific movement patterns, especially in the first year. In this article we review the series of studies we conducted and then focus on possible mechanisms that (...)
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  17. DADA: DEAD AND LOVING IT.Horváth Gizella - 2016 - In Rozália Klára Bakó & Gizela Horvath (eds.), Mens Sana: Rethinking the Role of Emotions. Partium, Debrecen University Press. pp. 217-234.
    The historical period of the avant-garde art movements coincided with two phenomena which can be interpreted as the failure of the rationalism characteristic for the modern, capitalist system. One of these is Taylorism, which dehumanized and robotized the person involved in the work process, and the other is the First World War. Several movements of the avant-garde related critically to reason and conscience (expressionism, surrealism), but the most radical was Dada. The manifestos and Dadaist activities reveal that the Dada wants (...)
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  18.  63
    A RELÁCIÓESZTÉTIKA IDEIGLENES KÖZÖSSÉGEI.Horváth Gizella - 2016 - In Gizela Horvath & Rozália Klára Bakó (eds.), Közbeszédaktusok. Partiumi Kiadó, Debfeceni Egyetemi Kiadó. pp. 179-195..
    The notion of “relational aesthetics” was created by Nicolas Bourriaud in 1995 to describe the new artistic phenomena of the nineties. According to Bourriaud the manifestations of relational art create temporary communities, thus turning art into a social laboratory. This paper investigates the communities arising through these artistic endeavors. My hypothesis is that the empty communities motivated solely by the artistic event are not more consistent than the audience of a play or a performance, furthermore, they do not transcend the (...)
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  19.  45
    Art, World, Artworld.Horvath Gizela - 2016 - Synthesis Philosophica 31 (1):117-127.
    Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...)
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