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)

Due to weak economies or ill-adapted public policies aggravated by the pandemic, official services dedicated to the unconditional reception and support of people in psychosocial distress in large urban areas are often put to the test. Here is the approach of the action research “Evolution after COVid-19 of the Invisibility of Precarities” (ECOVIP) dedicated to this phenomenon, as well as its first results concerning the precarity of unemployed “young” seniors (50-64 years old) in Lyon, France. This participative research is based (...) on workshops that bring together professionals from both the front-line psychosocial field and other fields such as employment or work, and in which they are offered a free expression of their lived situations of reception of precarious people. The first results provided by the scientific and transparent analysis of these exchanges show both a fairly precise understanding of the institutional decision leading to increasing invisibility, and the emergence of innovative professional resources capable of curbing it. (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)

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)

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)

a translation of A. Schoot "Kivy and Langer on Expressivity in Music".

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)

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.

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)

This book review begins with a historical overview of the English law of trial by jury and continues to the present topic of plea bargaining. It is both legal and philosophical in its outlook and it is hoped that those who take the time to study this book might find among the many topics at least one such topic of research that will sustain you through legal studies for some years to come. The reviewer makes no apologies for the length (...) of this review as it reflects the tremendous amount of academic labour by many professors and their teams in managing to produce this tome of a research handbook. which the reader is bound to dip into time and time again for years and years to come. It was published in April 2024 when I began the review, but my husband was ill and died in hospital many weeks later, hence the postponement of this review's publication, for which I am very sorry indeed. (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.

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)

Das sinnvolle Leben ist nicht nur in der gegenwärtigen Philosophie wieder verstärkt ein Thema, sondern auch in Psychiatrie und Psychotherapie. Bereits seit langer Zeit jedoch spielt es eine zentrale Rolle in der Existenzanalyse und Logotherapie, die der Psychiater Viktor E. Frankl entwickelt hat. Frankls eigenständige Sinntheorie wird in der gegenwärtigen philosophischen Sinndebatte allerdings weitestgehend ignoriert. Das Ziel dieses Artikels ist es, diesen Zustand zu beenden und die heutige philosophische Sinndebatte mit Frankl ins Gespräch zu bringen. Einerseits geht es darum, (...) Frankls Sinntheorie im Lichte der philosophischen Sinndebatte zu verstehen und zu bewerten: Was für eine Art von Sinntheorie vertritt er? Wie ist sie einzuordnen? Wie steht es um ihre innere Kohärenz, die Plausibilität seiner sinntheoretischen Überzeugungen und die Qualität ihrer Begründung? Andererseits soll geprüft werden, inwiefern Frankls Ansatz die gegenwärtige philosophische Sinndiskussion voranbringen kann: Gibt es bei ihm theoretische Elemente, die in der Philosophie zu wenig Beachtung finden? Kann er der philosophischen Sinntheorie wichtige Impulse geben? Die Analyse folgt in ihrer Struktur wesentlichen Elementen der Frankl’schen Sinntheorie, von den grundlegenden formalen und metaethischen Aspekten hin zu inhaltlichen Bestimmungen des Sinns und dem individuellen Umgang mit ihm: Zunächst wird die zentrale Bedeutung des Sinns für das menschliche Leben thematisiert, dann Fragen nach der metaethischen Einordnung, nämlich nach der subjektivistischen oder objektivistischen Ausrichtung sowie der Rolle des Supernaturalismus. Dann stehen mit der Selbsttranszendenz und dem Wertebezug sowie den drei Wertkategorien wesentliche Elemente der Sinnkonstituierung im Fokus der Betrachtung. Die Ergebnisse werden im Schlusskapitel zusammengefasst. Es zeigt sich, dass der theoretische Austausch in beide Richtungen fruchtbar sein kann, Frankls Denken allerdings auch einige Hindernisse bereithält. Sein Ansatz entpuppt sich mit seinem objektivistischen Charakter und der zentralen Rolle von Selbsttranszendenz und Wertbezug als an die heutige Sinndiskussion gut anschlussfähig, seine oftmals fehlenden Begründungen hingegen als gravierender methodischer Makel, bei dem eine Orientierung an modernen philosophischen Standards wünschenswert wäre. Wiederholt entsteht der Eindruck, dass seine Sinntheorie maßgeblich durch sein praktisches, therapeutisches Interesse geprägt ist. Einigen seiner Theoreme wird das Potential zugesprochen, die philosophische Sinntheorie bereichern zu können: Das sind die Situativität und Individualität des Sinns sowie die Gegebenheit der Sinnmöglichkeiten und die Verantwortung für ihre Verwirklichung. (shrink)

Kein Hahn kräht mehr nach dem Verifikationsprinzip, das Moritz Schlick zusammen mit seinen Mitstreitern des Wiener Kreises verfochten hat. Seit einem halben Jahrhundert gilt das Prinzip als philosophisch erledigt; doch Totgesagte leben länger. Ich versuche, eine Fassung des Prinzips zu formulieren, die auch unter den Bedingungen der Nachkriegs-Philosophie verteidigt werden kann: Grob gesagt, muss jeder sinnvolle Satz im Prinzip empirisch (oder doch aposteriori) überprüft werden können, einerlei ob verifiziert oder falsifiziert, ob fallibel oder infallibel, ob direkt oder indirekt, ob deduktiv, (...) abduktiv oder induktiv, ob durch Sinneswahrnehmung oder durch Selbstwahrnehmung. Je nach Situation verlangt das Prinzip die unterschiedlichsten Formulierungen; es wäre verfehlt, es ein für allemal zu fixieren. Vermutlich können wir es sogar auf Sätze ausdehnen, die sich apriori rechtfertigen lassen. Anhand einer Serie von Beispielen (die z.T. aus Schlicks Schriften stammen) demonstriere ich, welche guten Dienste das Prinzip leistet. Erstens dient es dazu, intellektuelle Hochstapelei aus dem Spiel zu werfen und von sinnvollen Aussagen zu unterscheiden. Nun gibt es Sätze, an deren Sinn wir nicht gern rütteln lassen wollen, selbst wenn zunächst nicht klar ist, wie sie sich überprüfen lassen sollen. Das legt einen zweiten Einsatz des Prinzips nahe: Wir sind in diesem Fall aufgerufen, mehr Mühe in den scheinbar unüberprüfbaren Satz zu investieren, ihn besser zu explizieren und dabei doch noch einen Weg zu seiner Überprüfung freizuschaufeln. Bei dieser Übung kann sich sogar unser Überprüfungsbegriff verändern (und damit auch der Gehalt des Verifikationsprinzips selbst). Insgesamt sollten wir den Überprüfungsbegriff so fassen, dass laut Prinzip nicht zuviele wichtige Sätze sinnlos erscheinen. In einer aufklärerischen Ethik des klaren Redens, Meinens und Fragens kommt es darauf an, die gegenläufigen Denkbewegungen auszutarieren, in die wir beim verifikationalistischen Philosophieren gezogen werden. Was das heißt, führe ich anhand vermeintlich sinnloser Sätze aus der Raum/Zeit-Philosophie vor. Am Ende des Aufsatzes bringe ich einige Beispiele ausgemachten Unsinns. (shrink)

Voorstanders van levensverlenging vooronderstellen dat langer leven wenselijk is en dat ouderdom en de dood dat niet zijn. Maar is een leven zonder dood eigenlijk wel nastrevenswaardig? In dit essay beargumenteer ik dat de dood een essentieel onderdeel van een zinvol leven is. Het is daarom niet eindigheid, maar eeuwigheid die als een bedreiging voor het leven zou moeten worden gezien.

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

Zu den weiterreichenden transhumanistischen Zukunftsvisionen gehört Mind-Uploading: Wir werden dank wissenschaftlicher und technologischer Fortschritte in der Lage sein, Bewusstsein auf künstliche Körper oder digitale Strukturen zu transferieren, um sehr viel länger oder gar unendlich lange leben zu können. Im Kern handelt es sich also um die Vision, durch Technik den Tod zu überwinden. In diesem Beitrag gehe ich im Wesentlichen der Frage nach, welche Theorie des Bewusstseins bzw. welches Geist-Körper-Verhältnis im Mind-Uploading vorausgesetzt werden. Ich werde dafür argumentieren, dass das zugrunde (...) gelegte Verständnis des menschlichen Geistes problematisch ist, weil die Rolle des Eingebettet-Seins in einen lebendigen Körper unterschätzt wird. Mind-Uploading arbeitet mit einem stark verkürzten Begriff des Geistes, der den komplexen Bezügen zu den biologischen, psychischen und sozialen Dimensionen unserer Existenz nicht gerecht wird. (shrink)

Two questions should be considered when assessing the Kantian dimensions of Kuhn’s thought. First, was Kuhn himself a Kantian? Second, did Kuhn have an influence on later Kantians and neo-Kantians? Kuhn mentioned Kant as an inspiration, and his focus on explanatory frameworks and on the conditions of knowledge appear Kantian. But Kuhn’s emphasis on learning; on activities of symbolization; on paradigms as practical, not just theoretical; and on the social and community aspects of scientific research as constitutive of scientific reasoning, (...) are all outside the Kantian perspective. Kuhn’s admiration for Kant is tempered by his desire to understand the processes of learning, of initiation into a scientific community, of experimentation using instruments, and of persuasion, drawing on the work of familiar influences, including Piaget, Koyré, and Wittgenstein, and less familiar ones, including Langer, Demos, and Frank. Both Kuhn and Kant were interested in the question: what is the status of science, and what is the role of the scientist in its development and justification? But Kuhn presents science in a much more messy, historically contingent, and socially charged way than Kant does. The paper’s conclusion evaluates Kuhn’s reception among researchers including Richardson and Friedman, assessing the prospects for future work. (shrink)

Ziel der Untersuchung ist zu zeigen, inwiefern Hegels Charakterisierung des Schönen als ‚das sinnliche Scheinen der Idee‘ auch für die Deutung des Naturschönen Erklärungswert hat. Vorausgesetzt ist die für den Idea- lismus Hegelscher Prägung zentrale Doktrin, derzufolge der Natur Ideel- les zugrunde liegt. Schön sind dann Naturphänomene, in denen jener ideelle Grund der Natur durchscheint. Das Erfassen von Ideellem scheint ein Privileg geistiger Wesen zu sein. Dem stehen evolutionsbiologische Argumente entgegen, die dem Schönen einen positiven Selektionswert, etwa bei der sexuellen (...) Partnerwahl, zusprechen. Auch der Mensch hat stammesgeschichtliche Wurzeln, die in ihm weiter wirken. Doch sobald der Geist auf der evolutionären Bühne erscheint, herrscht das Biologische nicht länger mit der uneingeschränkten Macht, die es im Rahmen natürli- cher Selektion hat. Hegels Deutung des Schönen, auch des Naturschönen, ist wesentlich bezogen auf den Geist. Ich verdeutliche dies an einigen Exempeln (Schneekristall, musikalische Harmonie, Abendhimmel, Ge- birgslandschaft, organische Blüten- und Körperformen). Aber wodurch sind Naturschönheit und Kunstschönheit dann voneinander unterschie- den? Die Hervorbringungen der Natur sind lediglich Zufallskonstellatio- nen. Allerdings, so Hegel, hat der Zufall es ‘recht’ gemacht, d.h. hat er etwas reizend Stimmiges gefügt, gewahrt der Geist darin das im Sinnli- chen durchscheinende Ideelle. Eben darin wird, mit Adorno gesprochen, die gemeinsame Wurzel des Kunstschönen und des Naturschönen erkennbar. Wer das Naturschöne preist, begebe sich „an den Rand der Afterpoe- sie“, des Kitsches, meint Adorno. Gleichwohl sei es wahr zu sagen, „die Landschaft der Toscana sei schöner als die Umgebung von Gelsenkirchen“ (Adorno 1993, 110, 112). In der Tat. Doch was meinen wir, wenn wir Landschaften, Blumen, Sonnenuntergänge ‘schön’ nennen, und welche Kriterien bringen wir dafür in Anschlag? Im Folgenden möchte ich darle- gen, inwiefern Hegels Charakterisierung des Schönen als „das sinnliche Scheinen der Idee“ diesbezüglich erhellend und klärend ist. Hinweise auf Adornos ästhetische Theorie ergänzen diese Überlegungen. Dem stehen evolutionsbiologische Argumente entgegen, die zunehmend Einfluss auf die ästhetische Diskussion gewinnen. (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)

Introduction to the special issue including papers about Susan Stebbing, Susanne Langer and Maria Kokoszyńska.

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)

Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings express their emotions in behaviour (...) and utterance. In cognitivist theories listeners are not supposed to have any reactionary feelings to the expressed emotions, whereas ‘arousalists’ (e.g. Matravers 1998) emphasize that a listener’s experience of expression involves an aroused feeling that is related to the expressed emotion; this aroused feeling makes it the case that we describe music as melancholic, for instance. The third type of philosophical theory of expressivity is the symbolist account (Addis 1999, Langer 1951) whose defenders regard music as isomorphic with our feelings and states of consciousness; in particular, special stress is laid on the idea that music is capable of presenting these ineffable states. (shrink)

Door de eeuwen heen hebben talloze vrouwen zich verdiept in een veel-heid aan filosofische thema’s, maar vaak zijn deze denkers onzichtbaar gebleven. Van de 17e-eeuwse filosofe Anna Maria van Schurman zullen sommigen wel hebben gehoord, maar wie kent haar tijdgenote Anne Conway? Uit de 20e eeuw is Hannah Arendt inmiddels wereldberoemd, maar de namen Susanne Langer, Gloria Anzaldúa en Werewere Liking zullen misschien alleen de specialisten bekend in de oren klinken. Vele vrouwelijke denkers waren uitgesloten van officiële onderwijsin-stellingen en (...) namen hun toevlucht tot andere vormen van filo so fie -beoefening, zoals briefwisselingen en essays. En dat levert een onschat-bare rijkdom aan filosofische bronnen op. In dit nieuwe standaardwerk worden 67 vrouwelijke denkers bij elkaar gebracht; van de Oudheid tot onze eeuw; van islamitische en katholieke mystica’s, een 18e-eeuwse Nederlandse logica tot een Nigeriaanse politiek filosofe. (shrink)

MICHELLE MARDER KAMHI offers an in-depth response to The Aesthetics Symposium. In addition to answering many of the contributors’ objections to What Art Is: The Esthetic Theory of Ayn Rand, she offers a critique of their own theses—in particular, Barry Vacker’s claim that chaos theory is implicit in Rand’s aesthetics, Jeff Riggenbach’s argument that much of Rand’s theory was anticipated by Susanne Langer and Stephen Pepper, and Roger Bissell’s suggestion that the concept of a microcosm be applied to Rand’s (...) view of the function of art. (shrink)

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools of (...) Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

This book contains a selection of papers from the workshop *Women in the History of Analytic Philosophy* held in October 2019 in Tilburg, the Netherlands. It is the first volume devoted to the role of women in early analytic philosophy. It discusses the ideas of ten female philosophers and covers a period of over a hundred years, beginning with the contribution to the Significs Movement by Victoria, Lady Welby in the second half of the nineteenth century, and ending with Ruth (...) Barcan Marcus’s celebrated version of quantified modal logic after the Second World War. The book makes clear that women contributed substantially to the development of analytic philosophy in all areas of philosophy, from logic, epistemology, and philosophy of science, to ethics, metaphysics, and philosophy of language. It illustrates that although women's voices were no different from men's as regards their scope and versatility, they had a much harder time being heard. The book is aimed at historians of philosophy and scholars in gender studies. (shrink)