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)

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)

Book review of John Rist's *Real Ethics*.

In a 1993 autobiographical essay, John Rist wrote: "Christianity is above all others the religion that speaks of God's presence in history, not only in the past, as in creation and in the incarnation, but continuously into the present and … through the Church into the future. Of course that does not mean that all religious and ethical advances will be made by Christians, let alone by theologians or bishops; God needs no such limitations. What it means is that (...) Christians must claim that the Church will, at least eventually, be able to accept all that is best among such advances, whatever their origin." The present volume explores the promise of these three sentences, and the result is a capstone work, at once Rist's most ambitious, and his most personal.The main chapters explore particular philosophical and theological themes, roughly moving from anthropology through aesthetics to politics. Chapter 1 considers the significance of sexual difference, attending especially to Christian attempts to account for the dignity of women. Chapter 2 considers the problem of original sin, human freedom, and divine providence. Chapter 3 traces the development of Christian aesthetics as a coming to terms with the power of beauty. Chapter 4 considers the problem of authority within the Church. (shrink)