Previous research in Explainable Artificial Intelligence (XAI) suggests that a main aim of explainability approaches is to satisfy specific interests, goals, expectations, needs, and demands regarding artificial systems (we call these “stakeholders' desiderata”) in a variety of contexts. However, the literature on XAI is vast, spreads out across multiple largely disconnected disciplines, and it often remains unclear how explainability approaches are supposed to achieve the goal of satisfying stakeholders' desiderata. This paper discusses the main classes of stakeholders calling for explainability (...) of artificial systems and reviews their desiderata. We provide a model that explicitly spells out the main concepts and relations necessary to consider and investigate when evaluating, adjusting, choosing, and developing explainability approaches that aim to satisfy stakeholders' desiderata. This model can serve researchers from the variety of different disciplines involved in XAI as a common ground. It emphasizes where there is interdisciplinary potential in the evaluation and the development of explainability approaches. (shrink)

Throughout the history of mankind, energy security has been always seen as a means of protection from disruptions of essential energy systems. The idea of protection from disorders emerged from the process of securing political and military control over energy resources to set up policies and measures on managing risks that affect all elements of energy systems. The various systems placed in a place to achieve energy security are the driving force towards the energy innovations or emerging trends in the (...) energy sector. Our paper discusses energy security status and innovations in the energy sector in European Union (EU). We analyze the recent up-to-date developments of the energy policy and exploitation of energy sources, as well as scrutinize the channels of energy streaming to the EU countries and the risks associated with this energy import. Moreover, we argue that the shift to the low-carbon production of energy and the massive deployment of renewable energy sources (RES) might become the key issue in ensuring the energy security and independency of the EU from its external energy supplies. Both RES, distributed energy resources (DER) and “green energy” that will be based on the energy efficiency and the shift to the alternative energy supply might change the energy security status quo for the EU. (shrink)

We provide a cognitive analysis of how children represent belief using mental files. We explain why children who pass the false belief test are not aware of the intensionality of belief. Fifty-one 3½- to 7-year old children were familiarized with a dual object, e.g., a ball that rattles and is described as a rattle. They observed how a puppet agent witnessed the ball being put into box 1. In the agent’s absence the ball was taken from box 1, the child (...) was reminded of it being a rattle, and emphasising its being a rattle it was put back into box 1. Then the agent returned, the object was hidden in the experimenter’s hands and removed from box 1, described as a ‘‘rattle,” and transferred to box 2. Children who passed false belief had no problem saying where the puppet would look for the ball. However, in a different condition in which the agent was also shown that the ball was a rattle they erroneously said that the agent would look for the ball in box 1, ignoring the agent’s knowledge of the identity of rattle and ball. Their problems cease with their mastery of second-order beliefs. Problems also vanish when the ball is described not as a rattle but as a thing that rattles. We describe how our theory can account for these data as well as all other relevant data in the literature. (shrink)

Parallels between the ancient Hellenistic philosophies of the Stoics and Epicureans, on the one hand, and modern cognitive psychotherapy, on the other, are well known and a topic of current discussion. The present article argues that there are also important parallels between Pyrrhonism, the third of the major Hellenistic philosophies, and the currently state-of-the-art “3rd wave” cognitive-behavioral therapies in general, and Acceptance and Commitment Therapy (act) in particular. This provides a crucial insight into Pyrrhonism: understanding Sextus’ term adoxastos using the (...) technical act term ‘defusion’ illuminates the psychological condition of the Pyrrhonist and explains why the apraxia objection against Pyrrhonism is misguided. (shrink)

The present article critiques standard attempts to make philosophy appear relevant to the scientific study of well-being, drawing examples in particular from works that argue for fundamental differences between different forms of wellbeing, and claims concerning the supposedly inherent normativity of wellbeing research. Specifically, it is argued that philosophers in at least some relevant cases fail to apply what is often claimed to be among their core competences: conceptual rigor—not only in dealing with the psychological construct of flow, but also (...) in relation to apparently philosophical concepts such as normativity, objectivity, or eudaimonia. Furthermore, the uncritical use of so-called thought experiments in philosophy is shown to be inappropriate for the scientific study of wellbeing. As an alternative to such philosophy-as-usual, proper attention to other philosophical traditions is argued to be promising. In particular, the philosophy of ZhuangZi appears to concord well with today’s psychological knowledge, and to contain valuable ideas for the future development of positive psychology. (shrink)

The approach of structuralism came to philosophy from social science. It was also in social science where, in 1950–1970s, in the form of the French structuralism, the approach gained its widest recognition. Since then, however, the approach fell out of favour in social science. Recently, structuralism is gaining currency in the philosophy of mathematics. After ascertaining that the two structuralisms indeed share a common core, the question stands whether general structuralism could not find its way back into social science. The (...) nature of the major objections raised against French structuralism – concerning its alleged ahistoricism, methodological holism and universalism – are reconsidered. While admittedly grounded as far as French structuralism is concerned, these objections do not affect general structuralism as such. The fate of French structuralism thus does not seem to preclude the return of general structuralism into social science, rather, it provides some hints where the difficulties may lie. (shrink)

Risk assessment is one of the prerequisites for understanding its causes and possible consequences. We base our risk assessment on the principles described in the European standard EN 31000 - Risk Management Process. This standard comprehensively describes the continuous activities that are necessary in managing risks and minimizing their possible adverse effects on the operation of the system under investigation. In this activity, it is necessary to first identify the existing risks, then analyze and evaluate the identified risks. In the (...) analysis of existing risks, it is possible to use both qualitative and quantitative analytical methods, or combine them. We use qualitative methods in cases where we do not have a sufficient amount of input information, these are more subjective. Quantitative methods are more accurate, but also more demanding on input information and time. The choice of a suitable analytical method is a basic prerequisite for knowledge of risks and their evaluation. The values of individual risks obtained in this way are the basis for determining the measures that are ecessary to minimize them, i.e., to adjust them to an acceptable level. The draft measures are always based on the value of the individual components used to calculate the risk number, as well as on the value of the asset , which needs to be protected. Appropriately chosen analytical methods are one of the basic prerequisites for the consistent application of the principles of risk management, as a continuous process aimed at increasing the overall security of the system under study. In the article, the author describes the procedures used in risk assessment, as well as specific analytical methods that can be used in working with risks. The aim of identifying risk factors is to create a list of events that could cause undesirable disruption to ongoing processes. At this stage, we define all the risks that will be subsequently analyzed and evaluated. When identifying, we can use methods such as, e.g. SWOT, PHA (Preliminary Hazard Analysis) or CA (Checklist Analysis). Methods suitable for determining the causes and creating scenarios for the course of a risk event are ETA (Event Tree Analysis) or FTA (Fault Tree Analysis). The basic analysis of the system can be performed using the FMEA method (Failure Mode and Effect Analysis), which provides a numerical risk assessment. By comparison with the numerical value of the risk that we are willing to accept, we obtain 2 groups of risks. Acceptable, which will be given regular attention and unacceptable, which we will focus on in risk management and we will try to minimize its negative affect on the functioning of the system under study. (shrink)

Motivated by recent controversies concerning the relationship between modern mindfulness-based interventions and Buddhism, this article discusses the relationship between mindfulness and dogmatism in general, and dogmatism in ethics in particular. The point of view taken is primarily that of the psychology of judgment and deci-sion making: Various cognitive illusions affect the feelings of righteousness and certainty that tend to accompany ethical and moral judgments. I argue that even though there is some evidence that mindfulness practice im-proves judgment and decision making, (...) thisimprovement is rarely as strong as is implied in various contributions to the above-mentioned controversies. In addition, I reflect on claims that “the original teachings of the Buddha” jus-tify the moral stances taken. I argue that these stances likely arise, at least in part, due to the cultural transmission of cognitive dissonance of early Christianity rather than being inherent in the Buddha’s teachings. (shrink)

Ingarden distinguishes four strata making up the structure of the literary work of art: the stratum of word sounds and sound-complexes; the stratum of meaning units; the stratum of represented objectivities (characters, actions, settings, and so forth); and the stratum of schematized aspects (perspectives under which the represented objectivities are given to the reader). It is not only works of literature which manifest this four-fold structure but also certain borderline cases such as newspaper articles, scientific works, biographies, and so forth. (...) Ingarden specifies what is characteristic of a work of literature by asserting that all declarative sentences appearing in the stratum of meaning units of such work possess what he calls a quasi-judgmental character. We discuss here Ingarden’s theory of quasi-judgments and draw out its implication that all works of literature are works of fiction through and through. (shrink)

In this chapter, I systematically distinguish a variety of ways to rela- tionalize economics and focus on a certain approach to relationalizing normative economics in the light of communal values salient in the African philosophical tradi- tion. I start by distinguishing four major ways to relationalize empirical economics, viz., in terms of its ontologies, methods, explanations, and predictions and also three major ways to relationalize normative economics, with regard to means taken towards ends, decision-procedures used to specify ends, and ends (...) themselves. Then, in the remainder of the chapter, I address what would be involved in relationalizing the ends of economic choices, given ideals of communal relationship characteristically prized by sub-Saharan philosophers, particularly southern African adherents to ubuntu. I advance communal answers to the two large questions of what an economy should distribute and how to engage with stakeholders, and I suggest that the implications will be found plausible by many open-minded enquirers around the world. Although this chapter is a work of ethical philosophy, it is meant to be of broad interest to scholars in economics. (shrink)

In this chapter, I systematically distinguish a variety of ways to rela- tionalize economics and focus on a certain approach to relationalizing normative economics in the light of communal values salient in the African philosophical tradi- tion. I start by distinguishing four major ways to relationalize empirical economics, viz., in terms of its ontologies, methods, explanations, and predictions and also three major ways to relationalize normative economics, with regard to means taken towards ends, decision-procedures used to specify ends, and ends (...) themselves. Then, in the remainder of the chapter, I address what would be involved in relationalizing the ends of economic choices, given ideals of communal relationship characteristically prized by sub-Saharan philosophers, particularly southern African adherents to ubuntu. I advance communal answers to the two large questions of what an economy should distribute and how to engage with stakeholders, and I suggest that the implications will be found plausible by many open-minded enquirers around the world. Although this chapter is a work of ethical philosophy, it is meant to be of broad interest to scholars in economics. (shrink)

In this chapter, I systematically distinguish a variety of ways to rela- tionalize economics and focus on a certain approach to relationalizing normative economics in the light of communal values salient in the African philosophical tradi- tion. I start by distinguishing four major ways to relationalize empirical economics, viz., in terms of its ontologies, methods, explanations, and predictions and also three major ways to relationalize normative economics, with regard to means taken towards ends, decision-procedures used to specify ends, and ends (...) themselves. Then, in the remainder of the chapter, I address what would be involved in relationalizing the ends of economic choices, given ideals of communal relationship characteristically prized by sub-Saharan philosophers, particularly southern African adherents to ubuntu. I advance communal answers to the two large questions of what an economy should distribute and how to engage with stakeholders, and I suggest that the implications will be found plausible by many open-minded enquirers around the world. Although this chapter is a work of ethical philosophy, it is meant to be of broad interest to scholars in economics. (shrink)

Recenze: Kateřina SVATOŇOVÁ, Odpoutané obrazy: archeologie českého virtuálního prostoru. Praha: Academia 2013, 344 s.

In this paper we explicate the notion of a miracle and highlight a suitable ontological framework for it. Our proposal draws on insights from Aquinas’s discussion of miracles and from the modern ontology of powers. We argue that each substance possesses a characteristic set of natural powers and dispositions which are operative or become manifest in the right circumstances. In a miracle divine intervention activates the fundamental disposition inherent in each creature to be responsive to God’s call. Thus, a miracle (...) brings something about which a substance’s set of natural powers and dispositions could not bring about by itself. (shrink)

There is traditionally a division of labor between economics and economic history, the task of economic history being that of studying the evolving constraints of economic mechanisms. Recent theorizing on endogenous structural change challenges this view: if structural change is endogenous to economic mechanisms, any strict division of labor between causal analysis and structural analysis breaks down. Rather such views call for an integration of causal and structural analysis. This paper looks for such a methodology, noting especially the contributions made (...) by two Swedish economists, Johan Åkerman (1896-1982) and Erik Dahmén (1916-2005). With evolutionary, Marxian, Hayekian and critical realist contributions, the paper examines notions of endogenous structural change with the aim of expounding how the notion can be thought in terms of underlying mechanisms to aid such structural analysis. The findings of endogenous mechanisms underlying structural change are crystallized into a mathematical model and a simple methodological framework. (shrink)

Children approach counterfactual questions about stories with a reasoning strategy that falls short of adults’ Counterfactual Reasoning (CFR). It was dubbed “Basic Conditional Reasoning” (BCR) in Rafetseder et al. (Child Dev 81(1):376–389, 2010). In this paper we provide a characterisation of the differences between BCR and CFR using a distinction between permanent and nonpermanent features of stories and Lewis/Stalnaker counterfactual logic. The critical difference pertains to how consistency between a story and a conditional antecedent incompatible with a nonpermanent feature of (...) the story is achieved. Basic conditional reasoners simply drop all nonpermanent features of the story. Counterfactual reasoners preserve as much of the story as possible while accommodating the antecedent. (shrink)

Emotional creativity (EC) is a pattern of cognitive abilities and personality traits related to originality and appropriateness in emotional experience. EC has been found to be related to various constructs across different fields of psychology during the past 30 years, but a comprehensive examination of previous research is still lacking. The goal of this review is to explore the reliability of use of the Emotional Creativity Inventory (ECI) across studies, to test gender differences and to compare levels of EC in (...) different countries. Thirty-five empirical studies focused on EC were retrieved and the coefficients required for the meta-analysis extracted. The meta-analysis revealed that women showed significantly higher EC than men (total N = 3,555). The same gender differences were also found when testing scores from three ECI subscales, i.e. emotional novelty, emotional preparedness and emotional effectiveness/authenticity. When comparing EC in 10 different countries (total N = 4,375), several cross-cultural differences were revealed. The Chinese sample showed a significantly lower average ECI total score than all the other countries. Based on the integration of results, the avenues for future research on EC and the breadth of influence of the concept of EC across different fields of psychology are discussed. Keywords: Emotional Creativity, Review, Meta-Analyses, Meta-Analysis, Definition, Emotional Creativity Inventory, ECI, Reliability, Gender Differences, Cross-cultural, Cross-culture, Personality Traits, NEO Personality Inventory, Big Five, Extraversion, Agreeableness, Openness to Experience, Introversion, Neuroticism, Emotions, Creativity, Cognition, Cognitive Abilities, Affect, Fantasy, Coping, Alexithymia, Anhedonia, Self-understanding, Motivation, Creativeness, Innovative Performance, Creative Ability, Artistic Creativity, Creative Thinking. MeSH Headings: Emotions, Creativity, Affect, Affective Symptoms, Gender, Sex, Gender Identity, Cross-Cultural Comparison, Transcultural Studies, Temperament, Extraversion, Neuroticism, Anhedonia, Creativeness, Cognition, Cognitive Function, Artistic Creativity, Creative Ability, Creative Thinking. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue (...) that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Susanne K. Langer is best known as a philosopher of culture and student of Ernst Cassirer. In this chapter, however, I argue that this standard picture ignores her contributions to the development of analytic philosophy in the 1920s and 1930s. I reconstruct the reception of Langer’s first book *The Practice of Philosophy*—arguably the first sustained defense of analytic philosophy by an American philosopher—and describe how prominent European philosophers of science such as Moritz Schlick, Rudolf Carnap, and Herbert Feigl (...) viewed her as one of the most important allies in the United States. In the second half of this chapter, I turn to Langer’s best-selling *Philosophy in a New Key* and reconstruct her attempts to broaden the scope of the, by then, rapidly growing U.S. analytic movement. I argue that her book anticipated various developments in analytic philosophy but was largely ignored by her former colleagues. I end the chapter by offering some clues as to why New Key did not incite the same laudatory responses from analytic philosophers as her earlier work. (shrink)

Susanne Langer is mainly known as the American philosopher who, starting from her famous Philosophy in a New Key, worked in aesthetics and famously saw art as the product of the human mind’s most important, distinctive and remarkable ability, i.e., the ability to symbolise. But Langer’s later consideration of the connection between art and symbol is propagated by an early interest in the logic of symbols themselves. This rather neglected early part of Langer’s thought and her early (...) interests and lines of reasoning, which she somehow abandoned later on to dedicate herself exclusively to the study of art, are the topic of this paper. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: “felt time” and “clock time.” For Langer, musical time is exclusively felt time, and in this sense, music is “time made audible.” However, Langer also postulates what we would call ‘a strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this paper we take issue with the ‘strong suspension thesis’ and its implications and (...) ramifications regarding not only musical meaning, but also the purported metaphysics of music construed as essentially inhering in felt time. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding. We discuss a selection of examples of repetitive formations, from mediaeval music to contemporary music, which show that persistent, motion-inhibiting repetition undermines the listener’s ability to identify order and coherence due to a relative inability to anticipate the next occurrence of a differentiating musical event. We argue that Langer’s one-sided view of musical temporality, which patently relies on the conceptual framework of memory time and the specious present, exemplifies what we propose to call ‘the searchlight model of musical understanding,’ wherein the constant span of illumination of the searchlight (representing the span of the specious present) moves continuously parallel to, and along, its postulated target, i.e., the music heard, as it ‘illuminates’ it. We argue that, in the last analysis, memory time conceptually presupposes the publicly identifiable means of chronometric length. One maintains the ‘strong suspension thesis’ on pain of conceptual confusion. (shrink)

The publication entitled Josef Zvěřina and Theology of Agape involves texts of the foremost disciples of the greatest of Czech theologians of the 20th century and those who have been dealing with the theology of agape in subsequent generations of Czech theology. The three main thematic units of the publication gradually bring insight into the life and work of Josef Zvěřina (1913–1990).

Susanne Langer was a student at Radcliffe College between 1916 and 1926---a highly transitional period in the history of American philosophy. Intellectual generalists such as William James, John Dewey, and Josiah Royce had dominated philosophical debates at the turn of the century but the academic landscape gradually started to shift in the years after World War I. Many scholars of the new generation adopted a more piecemeal approach to philosophy---solving clearly delineated, technical puzzles using the so-called “method of logical (...) analysis”. Especially at Harvard, the intellectual climate rapidly changed. The department hired several philosophers who had contributed to the development of symbolic logic---H. M. Sheffer, C. I. Lewis, and A. N. Whitehead---and Harvard quickly began to be viewed as a central hub for analytic philosophy in the United States. This chapter contextualizes Langer’s earliest work by reading it through the lens of this shifting academic environment. Though Harvard did not allow women to take its courses until 1943, Langer is one of the most significant fruits of this period. Her dissertation “A Logical Analysis of Meaning” and her first publications are all illustrations of the approach that came to dictate the American philosophical conversation. By exploring the increased focus on the logical-analytic method and Langer’s attempts to expand the new approach to what she later called “non-discursive” symbolisms, I situate her publications in the intellectual context of the 1920s. (shrink)

An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...) relationship of sounding. What if culture is actually nature? How does technology connect with botany, and what does it mean to engage the environment with the expanded tactility of the ear? This essay observes current inter-species practices in sound art by revisiting philosopher Susanne Langer’s theory of an embodied and embedded mind. Her “new key” in philosophy emphasizes music as a dynamic sound-pattern to conceptualize a semiology of artistic forms that renders human feeling in regard to non-human antecedents. This serves as a tool to trace the preconceptual substrata of mind, leading us through process-oriented studies of nature and psychophysical affect. Thinking with Langer involves the interconnection of natural systems, behavioural patterns, and human expression, which emerges in art. (shrink)

In hindsight, it is primarily Susanne K. Langer’s theory of act, and only secondarily her theory of art, that is central to the conception of Vitality Semiotics. It focuses on affective, semiotically relevant forms that constitute our world experience, human social interaction, and ultimately art experience. Thus, this somewhat unusual distinction between these two aspects of Langer’s work is not only important for art and our understanding of the world, but can also be seen as fundamental to social (...) interaction and, furthermore, to the universal formation of culture(s). It is, as the article suggests, to be regarded as the basis of the conditio humana. (shrink)

Menschenrechtsverletzungen aufgrund sexueller Orientierung und Geschlechtsidentität (SOGI) wurden auf internationaler Ebene lange Zeit kaum zur Kenntnis genommen. Doch seit einigen Jahren wird dem Thema in den Vereinten Nationen breiterer Raum eingeräumt. Die Yogyakarta-Prinzipien und eine Studie des Amtes des Hohen Kommissars für Menschenrechte stellen nur die ersten Schritte auf dem Weg zu einem umfassenderen Schutzansatz dar. Er muss gegen den Widerstand vieler Staaten weiterverfolgt werden.

To what extend is there a relevance of aesthetics for life? By postulating a non-discursive and emotional relevance of forms Cassirer, Langer and Krois open the door for this idea. -/- Inwieweit spielt die Ästhetik im Leben eine Rolle? Indem sowohl Cassirer, Langer und Krois eine nicht-diskursive und emotionale Relevanz von Formen unterstellen, öffnen sie die Türen für diese Idee.

In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is of quite (...) a different kind; it is united with thorough and unmistakable distinctness. (p. 262) ... music expresses in an exceedingly universal language, in a material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will (p. 264). These quotations contain an outright paradox: the meanings of music should be at the same time universal in the highest degree and characterised by the greatest distinctness. As it turns out this paradox does not follow merely from Schopenhauer's liking for brilliant, rethorical formulations. For it occurs in many contexts concerned with the expressive meaning of art, and especially music. Other occurrences of the dilemma are to be found in the writings of Felix Mendelssohn-Bartholdy and in the aesthetic theory of Susanne Langer formulated in chapter VIII, >On the Significance in Music of her book Philosophy in a New Key and it would be possible to quote many other sources. The persistently recurring nature of this paradox confirms that the issue will be central to any attempt at a complete theory of musical meaning. Furthermore, it may be essential for it to be resolved first if one aims to make sense of the relationship between musical and linguistic forms of meaning and, consequent upon this, to address the much debated question of whether music itself can be considered to be a language of the emotions. An attempt at a solution to the paradox in question constitutes the subject of this paper. For this purpose the framework and some notions of Langer's theory are used. The solution which I propose takes the form of distinguishing between two distinct notions of generality (which I will term 'generality' and 'abstractness'), as well as two distinct notions of particularity (which I will term 'specificity' and 'concreteness'), and involves assigning technically precise meanings to these with a view to constructing two relatively independent oppositions: on the one hand the concrete versus the abstract and, on the other, the specific versus the general. (Hints at such a solution are to be found both in Schopenhauer and in Langer). With the help of these notions it is, I believe, then possible to show that the arguments often quoted to the effect that musical meanings possess a certain generality in fact justify no more than their abstractness, while arguments usually thought to demonstrate that they possess a certain particularity in fact show only their specificity (but not concreteness). Consequently, musical meanings are shown to be abstract but specific, which does not entail any contradiction since these notions are independent and not opposed to each other. At the same time, musical meanings may then be contrasted with linguistic meanings, which themselves are abstract and general. If, however, each of the notions of abstractness and generality is understood as also permitting gradations, it will be the case that whereas linguistic meanings may be said to be more general (i.e. less specific) than musical ones, the latter are without any doubt more abstract than the former. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence (...) on a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Is it true that there is an analogy between modes of creation and such of perception? Respective to the cultural anthropological research of Ernst Cassirer, Susanne K. Langer and John M. Krois and by the analysis of a tape of the Swiss video-artist Pipilotti Rist this initial thesis of Formal Aesthetics shall be supported. - I - -/- Lässt sich die Behauptung stützen, dass zwischen Gestaltungsweisen und Wahrnehmungsweisen eine Analogie besteht? Aufbauend auf den kulturanthropologischen Forschungen von Ernst Cassirer, Susanne (...) K. Langer und John M. Krois sowie der Analyse eines Tapes der Schweizer Videokünstlerin Pipilotti Rist gilt es diese ursprünglich von der formalen Ästhetik aufgeworfene These zu untermauern. (shrink)

The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through (...) aesthetic experience. Therefore, it is necessary to analyse images not only with respect to their historical aspects based on experiences with the world but to emphasise their power to shape the future by their potential to affect our actions. - / - Die Fähigkeit „Bilder“ unserer Erfahrungen mit der Welt zu formen (Bildkraft) und unser Streben und Wollen (Tatkraft) nach ihnen auszurichten, das ist es, was den Menschen nach Cassirer – und nachfolgend auch nach Langer und Krois – auszeichnet. Voraussetzung dafür die Bilder des Lebens und das, was wir von ihnen halten, zu objektivieren und Anderen zu kommunizieren, bilden Techniken. Die Kunst als Technik ist darin eine Meisterin, indem sie uns über die ästhetische Erfahrung Anschauungen Anderer von ihren Erfahrungen und Wünschen, lebendig vor Augen zu führen vermag. Bei der Analyse von Bildern gilt es insofern nicht nur deren geschichtsträchtigen, auf Erfahrungen mit der Welt beruhenden Aspekte zu untersuchen, sondern vor allem auch deren zukunftsprägendes und damit unsere Tatkraft ansprechendes Potential. (shrink)

With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well (...) as in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.

The non-dualizing philosophy of Josef Mitterer as a contemporary version of Heglism -/- The aim of this paper is to present an analogy between philosophy of contemporary Austrian thinker Josef Mitterer and philosophy of Georg Wilhelm Friedrich Hegel. In his works (Das Jenseits der Philosophie and Die Flucht aus Beliebigkeit) Mitterer presents the project of non-dualizing way of speaking. He rejects fundamental philosophical assumption of ontological distinction between language and reality. He claims that when we realize that this (...) assumption is arbitrary we understand that one of the most important contemporary question about relationship between language and reality is not relevant. Analogical considerations we can find in Hegelian Introduction to the Phenomenology of Spirit, where Hegel proposes to reject the assumption of ontological distinction between subject and object. He notices that “fear of error” characteristic for modern critic of cognition is a result of this assumption and it can be rejected when we reject this assumption. I claim that the starting point of this two philosophical projects is the same thought although it is expressed in two different philosophical languages. In the second part of my paper I try to consider quality of this characteristic for Mitterer and Hegel way of thinking. (shrink)

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop the views of Susanne (...) Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (shrink)

With a Call for Essays, the special issue Multimodality sought contributions that accept not only the material but also the body-bound dependence of media perception and understanding. To this end, contributions were included that shed light on both the structural and signifying potential of artistic works through multimodal analysis. Particular attention was paid to contributions that clarify how the structural features - the modes - of the arts, their perception, and their signifying potential in terms of content are interrelated and (...) how they are to be understood in communicative and thus socioculturally relevant terms. Thus, in addition to neuroscientific contributions, those from cultural anthropology, art history, image and art studies, and literary studies were included. -/- Articles -/- 8 Martina Sauer and Christiane Wagner - Introduction -/- 11 Giada Lombardi and Giuseppe Di Cesare - From Neuroscience to Art: The Role of ‘Vitality Forms’ in the Investigation of Multimodality -/- 25 Martina Sauer - Abstract - Affective – Multimodal: Interaction between Medium and Perception of Moving Images from the Viewpoint of Cassirer’s, Langer’s and Krois’ Embodiment Theories -/- 49 Göran Sonesson - The Secrets of Plastic Language Revealed: Multimodality, Polysemiosis, and Iconicity -/- 71 Natalia Igl - Making Sense of the Material: Multisensory Reader Involvement in Contemporary Multimodal Novels -/- 87 J. Philippe Thompson - Art is All: Proust’s Life Lessons Through Perception and Art -/- 107 Hans Dieter Huber - Philippe Parreno and the Exhibition as a Multimodal Aesthetic Experience -/- 135 Jörg U. Lensing - The Performing Human Being in a Media Interaction Space: Multi- and intermodal productions by the Düsseldorf Theater der Klänge (Theatre of Sounds) . (shrink)

Egal was der heutige Tag auch bringen mag, der 1. April 2063 wird zumindest als der Tag in die Geschichte des Wissenschaftsjournalismus eingehen, der die bisher aufwändigste Berichterstattung erfahren hat. So viele Kamerateams, wie hier vor den Toren der Australian National University in Canberra, hat bisher kein wissenschaftliches Experiment anziehen können. Selbst der Knüller des Vorjahres, als es einer 48jährigen Hausfrau in einem Vorort von London gelang, mit einfachsten Küchenutensilien einen kleinen Kalte-Fusion-Reaktor herzustellen, der den Staubsauger und die Mikrowelle zuverlässig (...) mit sauberer Energie versorgte, hatte bei weitem nicht ein solches Echo in der Wissenschaftspresse erfahren. Es war zwar noch nichts über den Experimentausgang zu erfahren, trotzdem wurde freilich seit drei Tagen ununterbrochen live auf fast allen Kanälen aus Canberra darüber berichtet, dass nun zwar noch nichts zu erfahren sei, dass es aber ja sehr bald soweit sein müsse. Das Experiment, dessen Ausgang man hier so gespannt erwartete, war schon im Vorfeld hitzig diskutiert worden und überhaupt nur durch einen Sonderbeschluss der Vereinten Nationen zustande gekommen. Immerhin läuft die Vorbereitung bereits seit fast 30 Jahren, als sich mehrere Philosophen und Bürgerinitiativen zusammenschlossen, die UNO um eine endgültige Klärung einer der ältesten Fragen der Menschheit zu bitten: Was ist Bewusstsein? Und insbesondere: Ist Bewusstsein etwas anderes als physikalisch beschreibbare Zustände unseres Gehirns, oder sind alle Tatsachen letztlich physikalische Tatsachen? Dass diese Fragen trotz ihres Ehrfurcht einflößenden Alters zunehmend auf den Nägeln brannten, hatte nicht zuletzt die jüngste Entwicklung der Computertechnologie befördert. Nachdem die KI in den letzten Jahrzehnten einen großen Schritt vorwärts gemacht hatte, war man in Sorge, dass ohne endgültige begriffliche Klärung dieser Fragen unser zukünftiger Umgang mit unseren elektronischen Helfern auf moralisch unsicherem Boden stehen könne. Man hatte sich daher nach langer Abwägung der ethischen Aspekte dieses Experiments dazu entschieden, ein gerade neugeborenes Waisenkind in einem völlig schwarz-weiß-grauen Raum groß werden zu lassen, sorgsam darum bemüht, dass die kleine Mary (so hatte man das Mädchen in Anlehnung an die Protagonistin einer fiktiven philosophischen Geschichte genannt) keine Farben zu Gesicht bekommt.. (shrink)

Ernst Waldfried Josef Wenzel Mach was born 18 February 1838 in the Moravian village of Chrlice (near Brno), at that time part of the Austrian Monarchy, now the Czech Republic, and died 19 February 1916 in Vaterstetten (near Munich). He enjoyed a very successful career as an experimental physicist (the unit for the velocity of sound has been named after him). His importance for the philosophy of science derives mainly from his “historico‐critical” writings (Mach 1872, 1883, 1896b, 1921). Mach (...) studied mathematics and physics at the University of Vienna (1855–60, doctorate in physics 1860, his “Habilitation” (i.e., qualification to become a university professor) 1861) and his subsequent work was in the physiology of the senses. In 1864 he became professor first of mathematics and then (1866) of physics at Graz University; from 1867 to 1895 he was professor of experimental physics at Prague University; and in 1895 he took a chair in “Philosophy, especially the History and Theory of the Inductive Sciences” at Vienna University. In 1898 a stroke ended Mach's university teaching, but he was able to continue scientific work to a certain degree. (shrink)

Die Diversität von Nahrungspflanzen, ein Ergebnis Jahrtausende langer Zuchtbemühungen, ist in den letzten Jahrzehnten dramatisch zurückgegangen. Schätzungen zufolge machen von den über 7000 Nahrungspflanzenarten ganze 103 Sorten 90% der Nahrungsmittelproduktion aus. Dieser Verlust könnte in Zukunft gewaltige negative Auswirkungen auf die Nahrungsmittelsicherheit haben, da die Biodiversität eine zentrale Rolle bei der Absorbierung biotischer und abiotischer Stressfaktoren spielt, die auf die Pflanzen wirken. Darüber hinaus stellt der Verlust eine bedeutende Verarmung nicht nur des Pools genetischer Ressourcen dar, die zukünftigen Generationen (...) zur Verfügung stehen, sondern auch der kulturellen Diversität, indem die Nahrungsmittelvielfalt der Landesküchen eingeschränkt und sowohl Kulturlandschaften als auch Stadtgärten vereinheitlicht werden. Wegen der grundlegenden Funktion, die die Agrobiodiversität in der menschlichen Gesellschaft erfüllt, werden wir im Folgenden verschiedene Schwierigkeiten bei der Pflege der Agrobiodiversität als ein gemeinsames Erbe der Menschheit in einer stark ungleichen Welt erörtern. Zuvor jedoch möchten wir untersuchen, was Agrobiodiversität eigentlich ist und welche Funktion sie für das menschliche Wohlbefinden erfüllt. Ziel dieses Artikels ist zu zeigen, inwieweit sich verschiedene Anreizsysteme unterschiedlich auf den Erhalt von Agrobiodiversität auswirken. (shrink)