the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a work (...) of art is? In this paper we argue that things are works of art in virtue of what they are like, their intrinsic features, that is, in virtue of the fact that they have the perceptual (auditory, visual, etc.) properties they have. In other words: being a work of art supervenes on perceptual-intrinsic features. Currently, this metaphysical view is extremely unpopular within the philosophy of art. It is unpopular because there allegedly exists a knock-down objection to it, the well-known argument from indiscernible counterparts. our thesis implies, among other things, that every perceptual duplicate of a work of art is also a work of art. according to the argument from indiscernible counterparts, however, there could be (or even: there are) indiscernible counterparts such that one of them is a work of art while the other is not. hence things cannot be works of art solely in virtue of what they are like. Our paper divides into three parts. In the first part we state our views. In the second part we defend it against various versions of the argument from indiscernible counterparts. (In doing so our position will become more plausible, we hope). In the final part we provide some meta-reflections on the matter. (shrink)

The original concept of epistemic dependence suggests uncritical deference to expert opinions for non-experts. In the light of recent work in science studies, however, the actual situation of epistemic dependence is seen to involve the necessary and ubiquitous need for lay evaluations of scientific experts. As expert knowledge means restricted cognitive access to some epistemic domain, lay evaluations of expert knowledge are rational and informed only when the criteria used by non-experts when judging experts are different from the criteria used (...) by experts when making their claims. The distinction between ‘substantial knowledge’ and ‘contextual knowledge’ allows for the laypeople to know with experts without having to know precisely what experts know. Such meta-expert evaluations are not specific to the public sphere outside science, nor are they limited internally to science, but they are present in a wide range of contexts in and around science. The paper legitimizes the concept of contextual knowledge by relating it to the relevant literature, and expounds the idea by identifying some elements of such a knowledge. (shrink)

Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

Collection of papers presented at the 2nd and 3rd Budapest Seminar in Early Modern Philosophy.

The book the reader is holding in his/her hands present the life and work of painter Tibor András focusing on his works made during the II. World War and the 1956 Hungarian revolution. His paintings and drawings would be hard to comprehend without outlining the context of his personal life and the historic events he got entangled in. This is why this book has three parts not counting the appendix. The first part presents the revolution as a visual reality of (...) the historical course of events; the second compares the drawings and paintings to themselves and to other contemporary works; and the final part showcases personal recollections. These three presentations were written by different authors. Beside the logical coherence we didn’t mean to harmonize these approaches stylistically or otherwise. Rather we thought that different views and different aspects better highlight and emphasize the personal qualities that are very important considering the characteristics of Tibor András’ artistic activity that extended to half of a century. Tibor András had significantly changed his subject matters, style and technique of applied graphics and paintings several times during his career. It’s hard to separate his artistic periods since he often went back to a work that seemed finished or to a style he used to paint. “A painter can just simply finish a painting; he/she must stop working on it.” - was his motto and he either was right or not that approach was the leading guide through his career and in spite of the flaws in his oeuvre his style is clearly visible behind every change. (shrink)

Durch genomweite Analysen werden vielfältige gesundheitsrelevante Informationen über eine Person gewonnen. Solche Informationen können die Behandlung von Krankheiten verbessern. Sie ermöglichen aber auch Vorhersagen, ob eine Person und deren Verwandte in Zukunft möglicherweise erkranken werden. Der neuartige Charakter des Informationseingriffs und sein prädiktive Potential bedürfen der ethischen, juristischen und ökonomischen Reflexion, damit diese Technologie zum Wohl der Patienten, der Familienangehörigen und der Solidargemeinschaft eingesetzt werden kann. Die vorliegende Schrift leistet mit ihren interdisziplinären, vom BMBF finanzierten Analysen dazu einen Beitrag. Grundlagen (...) für einen ethisch und juristisch verantwortbaren Einsatz der Genomsequenzierung zu medizinischen Zwecken werden erörtert und Eckpunkte für Kostenanalysen sowie Elemente einer “Guten klinischen Praxis” präsentiert. (shrink)

Our approach aims at accounting for causal claims in terms of how the physical states of the underlying dynamical system evolve with time. Causal claims assert connections between two sets of physicals states—their truth depends on whether the two sets in question are genuinely connected by time evolution such that physical states from one set evolve with time into the states of the other set. We demonstrate the virtues of our approach by showing how it is able to account for (...) typical causes, causally relevant factors, being ‘the’ cause, and cases of overdetermination and causation by absences. (shrink)

Dennis Gabor devised a new concept for optical imaging in 1947 that went by a variety of names over the following decade: holoscopy, wavefront reconstruction, interference microscopy, diffraction microscopy and Gaboroscopy. A well-connected and creative research engineer, Gabor worked actively to publicize and exploit his concept, but the scheme failed to capture the interest of many researchers. Gabor’s theory was repeatedly deemed unintuitive and baffling; the technique was appraised by his contemporaries to be of dubious practicality and, (...) at best, constrained to a narrow branch of science. By the late 1950s, Gabor’s subject had been assessed by its handful of practitioners to be a white elephant. Nevertheless, the concept was later rehabilitated by the research of Emmett Leith and Juris Upatnieks at the University of Michigan, and Yury Denisyuk at the Vavilov Institute in Leningrad. What had been judged a failure was recast as a success: evaluations of Gabor’s work were transformed during the 1960s, when it was represented as the foundation on which to construct the new and distinctly different subject of holography, a re-evaluation that gained the Nobel Prize for Physics for Gabor alone in 1971. This paper focuses on the difficulties experienced in constructing a meaningful subject, a practical application and a viable technical community from Gabor’s ideas during the decade 1947-1957. (shrink)

I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior experience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N. Denisyuk (1927-2005) in the Soviet Union, and Emmett N. Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, an association that influenced its assessment (...) by successive audiences of practitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understanding of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by forecasters between the 1960s and 1990s. (shrink)

The history of holography, the technology of three-dimensional imaging that grew rapidly during the 1960s, has been written primarily by its historical actors and, like many new inventions, its concepts and activities became surrounded by myths and myth-making. The first historical account was disseminated by the central character of this paper, George W. Stroke, while a professor of Electrical Engineering at the University of Michigan. His claims embroiled several workers active in the field of holography and information processing during the (...) 1960s, but transcended personality conflicts: they influenced the early historiography of holography and the awarding of the Nobel Prize for Physics to Dennis Gabor in 1971. An extended discussion of these episodes, based on archival research, publications analysis and interviews with participants, reveals the importance and extraordinary allure of intellectual priority for practicing scientists, and how its history and explanations are woven from multiple accounts and contemporary interpretations. (shrink)

The present online volume contains the papers prepared for the 11th Budapest Visual Learning Conference – ENVISIONING AN ELECTRIFYING FUTURE – held in a physical-online blended form on Nov. 13, 2024, organized by the University of Pécs (represented by Prof. Gábor Szécsi, Dean, Faculty of Cultural Sciences, Education and Regional Development), and the Hungarian Academy of Sciences (represented by Prof. Kristóf Nyíri, Member of the Hungarian Academy of Sciences). Nyíri and Szécsi were responsible for sending out the call for abstracts (...) and inviting plenary speakers, Szécsi organized the physical surroundings. Nyíri’s task was to build up and continuosly update the conference website, as well as to edit the accepted submissions. As we indicated in the call for submissions, the conference was planned as an interdisciplinary encounter of communication and media theory, cultural sciences, sociology, psychology, philosophy, pedagogy, history, political science, picture theory, and other disciplines. We insisted on achieving new scholarly results. Especially with AI now complementing, or intruding into, the world of the internet, what image of the future can we conceive of, what new patterns of life and in particular forms of education should we strive to create? (shrink)

In this paper, we defend the main claims of our earlier paper “Mental Fictionalism as an Undermotivated Theory” (in The Monist) from Gábor Bács’s criticism, which appeared in his “Mental fictionalism and epiphenomenal qualia” (in Dialectica). In our earlier paper, we tried to show that mental fictionalism is an undermotivated the-ory, so there is no good reason to give up the realist approach to the folk psychological discourse. The core of Bács’s criticism consists in that our argumentation rests on an (...) equivocation concerning the folk psychological concepts of conscious experiences. In our present argumentation, at first, we shortly recapitulate our earlier argumentation and Bács’s main objection to it. After that, we argue against the case of equivocation, claiming that it rests on a highly implausible and unsupported verificationist approach. Lastly, in answering another remark of Bács’s, we discuss the possibility of a realist mental fic-tionalism and conclude that it is an incoherent standpoint. (shrink)