The paper introduces a special issue of the journal Philosophical Problems in Science (ZFN) on the topic of the nature and norms of scientific explanation.

While scientific inquiry crucially relies on the extraction of patterns from data, we still have a far from perfect understanding of the metaphysics of patterns—and, in particular, of what makes a pattern real. In this paper we derive a criterion of real-patternhood from the notion of conditional Kolmogorov complexity. The resulting account belongs to the philosophical tradition, initiated by Dennett :27–51, 1991), that links real-patternhood to data compressibility, but is simpler and formally more perspicuous than other proposals previously defended in (...) the literature. It also successfully enforces a non-redundancy principle, suggested by Ladyman and Ross, that aims to exclude from real-patternhood those patterns that can be ignored without loss of information about the target dataset, and which their own account fails to enforce. (shrink)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

I show that in his De motu animalium Aristoteles proposes a teleology of the practical on the most general zoological level, i.e. on the level common to humans and self-moving animals. A teleology of the practical is a teleological account of the highest practical goals of animal and human self-motion. I argue that Aristotle conceives of such highest practical goals as goals that are contingently related to their realizations. Animal and human self-motion is the kind of action in which certain (...) state of affairs that realize values are mechanized. (shrink)

In this incisive study of the biological and cultural origins of the human self, the author challenges readers to re-think ideas about the self and consciousness as being exclusive to humans. In their place, he expounds a metatheoretical approach to the self as a purposeful system of extended cognition common to animal life: the invisible medium maintaining mind, body and environment as an integrated 'field of being'. Supported by recent research in evolutionary and developmental studies together with related discoveries in (...) animal behavior and the neurosciences, the author examines the factors that have shaped the evolution of the animal self across widely different species and times, through to the modern, technologically enmeshed human self; the differences between which are presented as relations of degree rather than absolute differences. Much like our primitive ancestors, he contends, routine human behaviour is governed more by unconscious instinct than self-conscious rationality, and is generally resistant to any major changes in customary habits of life, until compelled in time to do so. However, in extreme and rapidly evolving circumstances, as with climate change, tardy responses may become so detached from reality as to constitute an actual threat to survival. (shrink)

I defend Christopher Peacocke's and Robert Hopkins's experienced resemblance accounts of depiction against criticisms put forward by Gavin McIntosh in a recent article in this journal. I argue that, while there may be reasons for rejecting Peacocke's and Hopkins's accounts, McIntosh fails to provide any.

One of the most prominent ethical concerns regarding emerging neurotechnologies is mental privacy. This is the idea that we should have control over access to our neural data and to the information about our mental processes and states that can be obtained by analyzing it. A key issue is whether this information needs more stringent protection than other kinds of personal information. I will articulate and support the view, underlying recent regulatory frameworks, that mental privacy requires a special treatment because (...) of its relation to relevant aspects of personal identity. It has been suggested that this approach could be supported by the idea that mental privacy constitutes a fundamental psychological dimension of privacy. The connection between this psychological view of privacy and identity can be traced back to Irwin Altman’s idea that privacy is an interpersonal boundary regulation process. However, it is not clear whether this notion of privacy can be associated with a conception of identity that is relevant in contemporary neuroethics. I will suggest that the narrative and relational approach to identity, a prominent view in recent ethical discussions of neurotechnology, lines up with key aspects of Altman’s proposal. I suggest that if mental privacy is an essential component of identity, the latter could be affected by technological mind-reading. (shrink)

A new strategy for moving forward in the characterization of the Global Neuronal Workspace (GNW) is proposed. According to Dehaene, Changeux and colleagues, broadcasting is the main function of the GNW. However, the dynamic network properties described by recent graph-theoretic GNW models are consistent with many large-scale communication processes that are different from broadcasting. We propose to apply a different graph-theoretic approach, originally developed for optimizing information dissemination in communication networks, which can be used to identify the pattern of frequency (...) and phase-specific directed functional connections that the GNW would exhibit only if it were a broadcasting network. (shrink)

The monistic worldview aims at a uniform description of nature based on scientific models. Quantum physical systems are mutually part of the other quantum physical systems. An aperture distributes the subsystems and the wave front in all possible ways. The system only takes one of the possible paths, as measurements show. Conclusion from Bell's theorem: Before the quantum physical measurement, there is no point-like location in the universe where all the information that explains the measurement is available. Distributed information is (...) possible. Movement of the particle and measuring process are deterministic. The oscillation between location uncertainty and momentum uncertainty leads photons to determine their own location at short intervals. The uncertainty principle focuses the systems. The fields of the surrounding matter influence the location of the new formation. The effect of all fields is based on a common mechanism. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

The perhaps most challenging problem for a panentheistic paradigm in Christian god-talk consists in integrating the trait of personhood in the monistic horizon of this approach. A very helpful way to this goal seems to be the concept of imagination. Its logic of an “as if” represents a modified variation of Kant`s idea of the postulates of reason. Reflections of Jürgen Werbick, Douglas Headley, and Volker Gerhardt substantiate the philosophical and theological capabilities of this solution which also include a sensibility (...) for the ontological commitments included in the panentheistic approach. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

The essay presents Saul Kripke's argument for mind/body-dualism and makes the suppositions explicit on which it rests. My claim, inspired by Richard Boyd, is that even if one of Kripke’s central suppositions - the principle of necessity of identities using rigid designators - is shared by the non-traditional identity theorist, it is still possible for her to rebut Kripke’s dualism.

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

In the paper I voice my dissatisfaction with the author's essay because I think that the proposed “McClellean shift” from skeptical to trusting theism faces serious problems. The troubles are mainly caused by the way in which McClellan suggests to extend and “amend” the theist’s argument via the Moorean shift (which is intended to be a counter-argument to the atheist’s evidential argument from evil). But McClellan's proposal is no amendment at all, as it robs the theist's Moore-inspired argument its entire (...) logico-probabilistic force. (shrink)

In his essay Tracy Lupher (henceforth, TL) is concerned with Robert Kane's (1984) version of the modal ontological argument (MOA). As he correctly points out, Kane's argument is valid only if the accessibility relation between possible worlds is assumed to be symmetric. TL's remarks pave the way to thinking that the MOA is intended to establish the existence of a perfect being as a matter of logical necessity. Moreover, given TL's undisputed supposition (even shared by Kane) that S5 - in (...) which the accessibility relation is symmetric - captures the notion of logical necessity, the real issue becomes whether the premise of the MOA is true. Contrary to TL's main claim, the discussion thus shifts back from technical arguments for why the appropriate modal logic must have a symmetric accessibility relation to metaphysical, theological, or conceptual considerations about the notion of a perfect being itself. I argue that it is only due to such considerations that we even start to ponder the question of what modal logic is the appropriate one to choose. (shrink)

In their (2008) article Liar-Like Paradox and Object Language Features C.S. Jenkins and Daniel Nolan (henceforth, JN) argue that it is possible to construct Liar-like paradox in a metalanguage even though its object language is not semantically closed. I do not take issue with this claim. I find fault though with the following points contained in JN’s article: First, that it is possible to construct Liar-like paradox in a metalanguage, even though this metalanguage is not semantically closed. Second, that the (...) presented examples of Liar-like paradox are supposed to be counterexamples to Tarski’s diagnosis of the classic Liar paradox. Third, that JN fail to notice Tarski’s postulate. And finally, that JN fail to recognize that the world they are pondering is not among the possible worlds. (shrink)

There are about 100 different contradictory definitions of life. The definition of life based on symbiosis that is presented here differs fundamentally from them; it gives life a value. So this definition offers a basis for ethical and legal action e.g. in organ transplants. It is based on principles and is not an ad hoc model: Significant processes for life are basis for a theoretical concept. Quality criteria for definitions are employed to control the concept. There is a graduation, not (...) a clear division, between inanimate and animate. The graduation is based on the amount of symbiosis to be found. Life is based on symbiosis. The ideas of “ethics” and “reality” are considered in the context of this definition. (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

'Ethics of Behavior Control. A new foundation' Do we need a new ethics? Or even an 'ethics of behavior control'? Partly founded by Immanuel Kant, but no longer valid in all its aspects? If there are values and norms, which of them can survive the so called "decay of values"? And if there are limits of ethcis, for example caused by (social) system conditions, arises the question of how to legitimate new ethical challenges and demands. Last not least: Can ethics (...) be absorbed by anthropology and / or philosophy of history? (shrink)

In the present article, we attempt to elucidate the conceptual rela- tionship between censorship and emotional development. We employ a framework from emotion regulation studies in order to clarify how censorship works and to ex- plain why it cannot affect emotional development in the same way as the remaining types of emotional regulation. Nevertheless, we argue that, by focusing on Plato’s ac- count of censorship, and specifically of its sociocultural function, one can find that it is not a useless device (...) for emotional development. Censorship affects relevant variables in the dynamics of contraposed emotional processes that compete for dominance. (shrink)

Accelerating global climate change drives new climate risks. People around the world are researching, designing, and implementing strategies to manage these risks. Identifying and implementing sound climate risk management strategies poses nontrivial challenges including (a) linking the required disciplines, (b) identifying relevant values and objectives, (c) identifying and quantifying important uncertainties, (d) resolving interactions between decision levers and the system dynamics, (e) quantifying the trade-offs between diverse values under deep and dynamic uncertainties, (f) communicating to inform decisions, and (g) learning (...) from the decision-making needs to inform research design. Here we review these challenges and avenues to overcome them. ▪ People and institutions are confronted with emerging and dynamic climate risks. ▪ Stakeholder values are central to defining the decision problem. ▪ Mission-oriented basic research helps to improve the design of climate risk management strategies. (shrink)

The topic may initially suggest that massive reductionism is pursued with it. Why this is not the case, can be explained as follows: 'Dictatorship of the proletariat', 'bureaucracy' and 'bureaucratization' are key terms through which new aspects, facts and connections of the questions about socialism can be opened again and again.

Founding or explaining norms by nature seems to be impossible. Kant's Categorical Imperative seems to be "normative", i.e. of absolute validity. In fact, it is not more or less than a value theory, since Kant considers the human person as endowed by unconditional dignity. Norms can be founded on values, not vice versa. And values seem always to lead to sense.

Given the irrationality and failures of human behaviour in the face of ecocide, the majority of humankind appears either unable or unwilling to change self-destructive ways of life. Rejecting common accounts, the author suggests that the reasons for our stubborn resistance to change go well beyond cognitive dissonance or any standard political and economic explanations. Nor is the answer to be found in human history alone. The driving forces underlying that resistance, the author argues, originate far back in evolutionary time (...) to the impulses governing all sentient creatures. -/- NB: The copy of this article is the final, pre-production version of the article published in the Architectural Research Quarterly. (shrink)

For Heidegger, the modern understanding of beeing is located within the space-time horizon of metaphysics in the form of a nihilistic "will to power", which makes it increasingly difficult for it to free itself from metaphysical thinking. With the progress and success of science and technology, the addiction of the modern age to metaphysics even seems to increase; man will ultimately be brought into the closed horizon of a tragic and nihilistic interpretation of beeing. The age of enlightenment, is in (...) fact - according to the thesis of the author - not yet at an end: Only if enlightenment, through basic "philosophical thought", reflects on its own foundation in a more fundamental and critical way and really makes the "turning" ("Kehre"), might it be able to overcome its unexplored addiction to the horizon of metaphysics, as well as to overcome modern man's alienation of the self and being, and to find its way back to the Greek beginnings of western thought. (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)

Do we need a new ethics? And if so: why? Just because Kant's Categorical Imperative (Cat. Imp.) seems to be no longer valid? Are there, nevertheless, values that survive the so-called "decay of values"? And if there are limits of ethics, e.g. in system conditions, one can ask if new legit requests are to be made. Or can ethics even be absorbed (or "abolished") in anthropology and philosophy of history?

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)

Habermas’s postmetaphysical reading of Kierkegaard is paradigmatic for his understanding of religion. It shows, why Habermas reduces religion to fideism. Therefore the paper reconstructs Habermas’s reception of Kierkegaard and compares it with the accounts of Dieter Henrich and Michael Theunissen. Furthermore it demonstrates how Habermas makes use of Kierkegaard’s dialectics of existence to formulate his postmetaphysical thesis of a cooperative venture.

In his wide-ranging study of architecture and cultural evolution, Chris Abel argues that, despite progress in sustainable development and design, resistance to changing personal and social identities shaped by a technology-based and energy-hungry culture is impeding efforts to avert drastic climate change. The book traces the roots of that culture to the coevolution of Homo sapiens and technology, from the first use of tools as artificial extensions of the human body to the motorized cities spreading around the world, whose uncontrolled (...) effects are fast changing the planet itself. Advancing a new concept of the meme, called the 'technical meme', as the primary agent of cognitive extension and technical embodiment, Abel proposes a theory of the 'extended self' as a complex and diffuse outcome of that coevolution. Challenging conventional ideas of the self as a separate and autonomous being, the extended self, he explains, encompasses material and spatial as well as psychological and social elements, including the built environment and artifacts, and now reaches out into the virtual world of cyberspace. Drawing upon research into extended cognition and embodied minds from philosophy, psychology and the neurosciences, the book presents a new approach to environmental and cultural studies. N.B. This book was the winner of the International Committee of Architectural Critics 2017 Bruno Zevi Book Award by unanimous decision of the international jury. (shrink)

If Darwin's and Wallace's theory of evolution is reduced to "eat and be eaten" misunderstanding and rejection arise. From a didactic point of view, a scientific and philosophical examination of the theory is necessary. It can create understanding and acceptance. Epistemologically, the theory of evolution describes a cognition and innovation process that corresponds to scientific working methods. The philosophical analysis shows that ethical behaviour emerges in evolution. The basic concept of this article is the assumption of the unity of spirit (...) and matter (monism) and the parallelism of ethics and mechanics (Elome concept). There is no principal contradiction between the theory of evolution and religious ideas but to the magical-mythical worldview. An understanding of the scientific method is a prerequisite for a deeper understanding of the evolutionary process. It is not about a branch of biology, but about a world view. (shrink)

Expanding his collected essays on architectural theory and criticism, Chris Abel pursues his explorations across disciplinary and regional boundaries in search of a deeper understanding of architecture in the evolution of human culture and identity formation. From his earliest writings predicting the computer-based revolution in customised architectural production, through his novel studies on 'tacit knowing' in design or hybridisation in regional and colonial architecture, to his radical theory of the 'extended self', Abel has been a consistently fresh and provocative thinker, (...) contesting both conventions and intellectual fashions. This revised third edition includes a new introduction and six additional chapters by the author covering a broad range of related topics, up to recent concerns with genetic design methods and virtual selves. Together with the former essays, the book presents a unique global perspective on the changing cultural issues and technologies shaping human identities and the built environment in diverse parts of the world, both East and West (from the book cover). (shrink)

Some authors have called for increased research on various forms of geoengineering as a means to address global climate change. This paper focuses on the question of whether a particular form of geoengineering, namely deploying sulfate aerosols in the stratosphere to counteract some of the effects of increased greenhouse gas concentrations, would be a just response to climate change. In particular, we examine problems sulfate aerosol geoengineering (SAG) faces in meeting the requirements of distributive, intergenerational, and procedural justice. We argue (...) that SAG faces obstacles to meeting the requirements of all three considered kinds of justice, because its impacts can harm some persons and communities much more than others; it poses serious risks to future generations; and SAG is especially prone to unilateral implementation. While we do not claim that SAG ought not to be implemented, we argue that it is the responsibility of proponents of SAG to recognize and address these ethical obstacles before advocating its implementation. (shrink)

Methodological problems often arise when a special case is confused with the general principle. So you will find affordances only for ‚artifacts’ if you restrict the analysis to ‚artifacts’. The general principle, however, is an ‚invitation character’, which triggers an action. Consequently, an action-theoretical approach known as ‚pragmatic turn’ in cognitive science is recommended. According to this approach, the human being is not a passive-receptive being but actively produces those action effects that open up the world to us. This ‚ideomotor (...) approach’ focuses on the so-called ‚epistemic actions’, which guide our perception as conscious and unconscious cognitions. Due to ‚embodied cognition’ the own body is assigned an indispensable role. The action theoretical approach of ‚enactive cognition’ enables that every form can be consistently processualized. Thus, each ‚Gestalt’ is understood as the process result of interlocking cognitions of ‚forward modelling’ and ‚inverse modelling’. As can be shown, these cognitions are fed by previous experiences of real interaction, which later changes into a mental trial treatment, which is highly automated and can therefore take place unconsciously. It is now central that every object may have such affordances that call for instrumental or epistemic action. In the simplest case, it is the body and the facial expressions of our counterpart that can be understood as a question and provoke an answer/reaction. Thus, emotion is not only to be understood as expression/output according to the scheme ‚input-processing-output’, but acts itself as a provocative act/input. Consequently, artifacts are neither necessary nor sufficient conditions for affordances. Rather, they exist in all areas of cognition—from Enactive Cognition to Social Cognition. (shrink)

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)