An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

Creștinismul reprezintă una din cele trei mari religii monoteiste ale lumii ca număr de aderenți, aflându-se cu mult înaintea iudaismului și islamului, născându-se, istoricește vorbind, în prima jumătate a secolului I, când un mic grup de evrei palestinieni l-au identificat pe Mesia cu nimeni altul decât Isus Hristos din Nazaret. De-a lungul a două milenii de existență, creștinismul a evoluat și s-a extins în lume pe spații largi fiind, totodată, însoțit de stări de tensiune, crize, războaie religioase, schisme și conflicte (...) de natură teologică, fapt ce a avut drept consecință apariția mai multor biserici distincte. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

There is an interesting historical detour in the dissemination of one of the seventeenth century’s most praised discoveries: the reception of Harvey’s account of the circulation of the blood is closely intertwined, especially in the Low Countries, with Descartes’ account of the origin of the heartbeat. Descartes was one of the first figures to support the circulation of the blood and to give credit to Harvey for it, although he presumably arrived at the same conclusion independently through his own anatomical (...) experiments. He did so while vocally rejecting Harvey’s views on the muscular nature of the heart and his explanation of cardiac motion, to promote his own mechanistic solutions instead. Although Descartes’ .. (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

I argue that what’s so bad (qua film fiction) about the cinematic practice of actor-character race-mismatching—be it the historically infamous and intuitively repugnant practice of blackface or one of its more contemporary kin—is that the extent to which film-fictions employ such practices is typically the extent to which such film-fictions unrealistically depict facts about race. More precisely, I claim that race-mismatching film fictions—understood as a species of unrealistic fiction—are prima facie inconsistent fictions with the capacity to mislead their audiences about (...) certain morally relevant actual-world states-of-affairs and thus, prima facie aesthetically, epistemically, and morally defective. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

This paper presents Duns Scotus’s theory of mixture in the context of medieval discussions over Aristotle’s theory of mixed bodies. It revisits the accounts of mixture given by Avicenna, Averroes, and Thomas Aquinas, before presenting Scotus’s account as a reaction to Averroes. It argues that Duns Scotus rejected the Aristotelian theory of mixture altogether and that his account went contrary to the entire Latin tradition. Scotus denies that mixts arise out of the four classical elements and he maintains that both (...) the elemental forms and the elemental qualities are lost in the mixture. Consequently, he denies the distinction between the process of mixture and that of substantial change through generation and corruption. The reassessment of Scotus’s account modifies the current historical representation of this discussion, inherited from Anneliese Maier. (shrink)

I claim that caricature is an epistemically defective depiction. More precisely, when employed in service to some epistemic uptake, I claim that caricature can have a non-negligible epistemic effect only for a less than ideally rational audience with certain cognitive biases. An ideally rational audience, however, would take all caricature to be what I refer to as fairground caricature, i.e., an interesting or entertaining form of depiction that is at best only trivially revelatory. I then argue that any medium (or (...) genre) substantially employing caricature (or standardly featuring or prescribing its employment) in service to some epistemic uptake is to that extent an epistemically defective medium (e.g., beliefs informed by works specific to that medium are to that extent unwarranted). I then show the editorial cartoon to be just such an epistemically defective medium. (shrink)

A few months before his death, Leibniz wrote to Des Bosses, My doctrine of composite substance seems to be the very doctrine of the Peripatetic school, except that their doctrine does not recognize monads. But I add them, with no detriment to the doctrine itself. You will hardly find another difference, even if you are bent on doing so.1 It is tempting to take Leibniz’s profession of Aristotelian orthodoxy as circumstantial: the entire correspondence he had with the Jesuit Father Bartholomew (...) Des Bosses is based on a project of reconciliation between his “system” and the dogmas of the Catholic Church, mediated by Aristotelian philosophy.2 But even so, this circumstantial... (shrink)

This paper investigates Péter Pázmány’s theory of mixtures from his exegesis of Meteorologica IV, in the context of sixteenth-century scholarship on Aristotle’s Meteorologica. It aims to contribute to a discussion of Anneliese Maier’s thesis concerning the incompatibility between hylomorphism and the theory of elements in the Aristotelian tradition. It presents two problems: the placement of Meteorologica IV in the Jesuit cursus on physics and the conceptualization of putrefaction as a type of substantial mutation. Through an analysis of these issues, it (...) shows how sixteenth-century exegesis imposes the hylomorphic thesis onto the subject matter of meteorology and how the hylomorphic theory of substantial change can be adapted in order to accommodate the theory of elements. The case being made is that Meteorologica is a privileged place where hylomorphism and the theory of elements meet and that the late Aristotelian theory of mixtures sought to accommodate both theories of material substance. (shrink)

Bill Seeley suggests that what follows from research into crossmodal perception for expression and emotion in the arts is that there is an emotional contour (i.e., a contour constitutive of the content of an emotion and potentially realizable across a range of media). As a response of sorts, I speculate as to what this might hold for philosophical and empirical enquiry into expression and emotion across the arts as well as into the nature of the emotions themselves.

Special issue of the Journal for Early Modern Studies (4.1., Spring 2005) Guest Editor: Lucian Petrescu. -/- .

This essay presents Descartes’s anti-hylomorphism in The Meteors published in 1637 and in the unpublished works that precede it, The World (Treatise on Light) and the Rules for the Direction of the Mind.

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic fictions (...) are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

This discussion note addresses Caleb Hazelwood’s ‘Practice-Centered Pluralism and a Disjunctive Theory of Art’. Hazelwood advances a disjunctive definition of art on the basis of an analogy with species concept pluralism in the philosophy of biology. We recognize the analogy between species and art, we applaud attention to practice, and we are bullish on pluralism—but it is a mistake to take these as the basis for a disjunctive definition.

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

Cover versions form a loose but identifiable category of tracks and performances. We distinguish four kinds of covers and argue that they mark important differences in the modes of evaluation that are possible or appropriate for each: mimic covers, which aim merely to echo the canonical track; rendition covers, which change the sound of the canonical track; transformative covers, which diverge so much as to instantiate a distinct, albeit derivative song; and referential covers, which not only instantiate a distinct song, (...) but for which the new song is in part about the original song. In order to allow for the very possibility of transformative and referential covers, we argue that a cover is characterized by relation to a canonical track rather than merely by being a new instance of a song that had been recorded previously. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. (...) We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

CUPRINS CONTUR Re-Introducere, sau: Dincolo de „teoria şi practica” informării şi documentării – Spre o hermeneutică necesară Viorica Sâncrăian Atelier Philobiblon FOCUS Gheroghe Vais Biblioteca Universităţii din Cluj, 1906-1909 Dénes Győrfi Gyalui Farkas – fost director adjunct al bibliotecii universităţii din Cluj Vladimir F. Wertsman Seria filatelică multiculturală Librariana Meda-Diana Hotea „O scriere chineză în cifre arabe” Carmen Crişan Utilizarea bazelor de date ştiinţifice abonate de Biblioteca Centrala Universitara Lucian Blaga în anul 2005 Gabriela Morărescu Anul 2005 – o nouă (...) abordare a bibliotecilor filiale Mariana Falup Realizări şi perspective în automatizare şi modernizare Maria Petrescu Digitizarea documentelor culturale Alina Ioana Şuta De la schimbul internaţional de publicaţii la schimbul experienţei – un contact polonez Marcela-Georgeta Groza Biblioteca de Matematică şi Informatică între ieri şi mâine Luminiţa Tomuţa Remodelarea unei biblioteci – Remodelarea mentalităţilor Emilia-Maria Soporan O prietenie activă pe tărâmul multiculturalităţii: Andrei Pippidi - Adrian Marino Costel Dumitraşcu Informaţiile bibliografice sau: Pe urmele cărţii în bibliotecă ORIZONTURI Pavel Puşcaş Astrolabium Ioan Mihai Cochinescu Alchimia şi muzica Alin Mihai Gherman Muzică şi literatură – Aproximaţii şi însemnări ale unui meloman înrăit Monica Gheţ Muzica împotriva ciumei Florina Iliş Adrian Marino şi ideea de literatură din perspectivă hermeneutică Rodica Frenţiu Tatakau Hikaku Bungaku – Adrian Marino şi comparatismul militant în Japonia Mariana Soporan Fondul arhivistic Adrian Marino din Biblioteca Centrală Universitară „Lucian Blaga” Gábor Győrffy Adrian Marino: alternativa autohtonă a culturii libere Sidonia Grama Între spaţii ale amintirii şi locuri ale memoriei – Comemorarea a 15 ani de la revoluţie în Timişoara REFLEXII Ioana Robu- Sally Wood-Lamont Cea de-a 10-a Conferinţă a Asociaţiei Europene pentru Informare şi Biblioteci Medicale (EAHIL) Felix Ostrovschi Un alt fel de discurs – Adrian Marino Liana Iancu Radio, presă, carte – Iancu Tiberiu – şi după Kinga Tamás Váczy Leona (1913-1995) Biblioteca, spaţiu intelectual al omului sau: Trecut pentru viitor Adrian Grănescu Emil Pintea (16 decembrie 1944 - 6 ianuarie 2004) – polivalenţa unui destin Melinda Éva Szász Pasiune pentru carte şi artă – Dénes Gábor Meda-Diana Hotea „Lumină din lumină”: primăvară pascală – Expoziţie (07 aprilie - 03 mai 2005) Kolumbán Judit Expoziţia de manuscrise de sec. XVI-XVIII în Biblioteca Centrală Universitară „Lucian Blaga” – Homo scribens: genurile memoriei si tipologia scrierii în secolele XVI-XVIII-lea (Homo scribens: emlékezéskultúra és íráshasználati-szokások a XVI-XVIII században) Meda-Diana Hotea „Cartea cărţilor” – Memoria credinţei – Expoziţie (10.02 - 25.02.2005) Raluca Soare Clădirile clujene sau martorii tăcuţi Adrian Grănescu (Despre) Managementul construcţiilor de biblioteci – recenzie şi marginalii Maria-Stela Constantinescu-Matiţa Mircea Popa: Andrei VERESS – un bibliograf maghiar, prieten al românilor (Recenzie) István Király V. Activitatea Ştiinţifică a Universităţii „Babeş-Bolyai” – 2005, sau de la povara... la demnitatea istoriei Bodnár Róbert Pe urmele unei biblioteci pierdute Raluca Soare Un om, o carte, o bibliotecă – Traian Brad, un slujitor al cărţii Ildikó Bán Lidia Kulikovski: Accesul persoanelor dezavantajate la potenţialul bibliotecilor (Manual pentru bibliotecari) Chişinău, Editura Epigraf, 2006 (Recenzie) Iacob Mârza Meda-Diana Hotea: Catalogul cărţii rare din colecţiile B. C. U. „Lucian Blaga”– Donaţia Gh. Sion Vol. I (sec. XVI-XVIII) (Recenzie) Ruxandra Cesereanu Adrian Marino între unit-ideas şi Zeitgeist Iulia Grad Filozofia evreiască: între Ierusalim şi Atena Raluca Soare De-o parte şi de alta a cărţilor Adrian Grănescu (Recenzie) Boglárka Daróczi Literatura germană pentru copii apărută în România între 1944-1989 – O bibliografie. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems with (b), because (...) the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

A review of Christy Mag Uidhir's Art & Art-Attempts (OUP 2013).

Christy Mag Uidhir’s Art and Art-Attempts begins from two deceptively simple observations: artworks are the product of intentions, and intentions are the kinds of things that can fail to be realized successfully. Drawing on these observations, he argues that most contemporary theories of art must be rejected because they are not substantively intention-dependent: that is, they do not account for the fact that an attempt to make an artwork can fail. From his view that artworks must be the product of (...) art-attempts that are subject to failure, Mag Uidhir derives implications for many domains in the philosophy of art. He argues that artworks cannot be abstract objects, since abstract objects cannot participate in causal relations and thus can’t be the product of art attempts: one can’t coherently intend or attempt to create something that exists eternally. Things that we think of as repeatable artworks, then, can’t be abstract types: instead, Mag Uidhir proposes, every artwork is concrete, but some are tied together by a relation of relevant similarity. In this symposium, Mag Uidhir replies to three critics, David Davies, Sherri Irvin and Keith Lehrer. All three critics examine the relevant similarity relation that Mag Uidhir proposes to account for artworks that we treat as repeatable, while also considering a variety of other issues. (shrink)

Ang pag-aaral na ito ay naglalayong alamin ang kapaligirang pampagkatuto, klimang pangklasrum at performans sa Filipino ng mga mag-aaral sa grado labing-isa (11) ng Mataas na Paaralang Nasyonal ng Ajuy. Ito rin ay naglayong matukoy kung mayroong makabuluhang pagkakaiba sa kapaligirang pampagkatuto at klimang pangklasrum at kung mayroon bang makabuluhang kaugnayan sa performans sa Filipino. Ang mga kinakailangang datos ay tinipon sa pamamagitan ng pagbigay ng talatanungan sa kapaligirang pampagkatuto, klimang pangklasrum at pagsusulit sa performans sa Filipino. Isandaan na nagmula (...) sa Mataas na Paaralang Nasyonal ng Ajuy ang naging kalahok sa pagaaral na ito. Sila ay pinili gamit ang stratified quota random sampling. Ang mga datos ay sinuri sa larangan ng computerprocessed statistics, percentage mean, frequency count, standard deviation, One Way ANOVA (Analysis of Variance), t-test at Pearson’ r. Ang alpha level ay nakaset sa .05 sa lahat ng inferensyal na pagsusulit. Ang mga natuklasan ay nagpakita na may “kaaya-aya” na antas ang kapaligirang pampagkatuto at may “kaaya-aya” na antas ang klimang pangklasrum. Napag-alaman din na mayroon silang “katamtamang” performans sa Filipino. Nakita rin sa pananaliksik na ito na “walang makabuluhang kaugnayan” ang performans sa Filipino sa antas ng kapaligirang pampagkatuto at antas ng klimang pangklasrum. Napag-alaman din na “walang makabuluhang pagkakaiba” ang kapaligirang pampagkatuto sa performans sa Filipino. “Wala ring makabuluhang pagkakaiba” ang klimang pangklasrum ng mga mag-aaral sa Filipino sa performans sa Filipino. Napag-alaman din na “walang makabuluhang kaugnayan” ang kapaligirang pampagkatuto sa klimang pangklasrum maging ang kapaligirang ampagkatuto sa performans sa Filipino gayundin ang klimang pangklasrum at performans sa Filipino. (shrink)

Ang layunin ng artikulong ito ay tuklasin ang konsepto ng pag-asa ng mga Pilipino sa suwerte sa pamamagitan ng pagtaya sa lotto. Tatalakayin ditto ang kahulugan ng mga paniniwala at saloobin ng mga Pilipino tungkol sa kapalaran at kayamanan, lalo na sa konteksto ng pagtaya sa lottery. Tinalakay din sa artikulo ang kahalagahan ng sikolohiyang Pilipino sa pagsusuri ng pag-asa ng mga Pilipino sa suwerte at lottery. Layunin ng artikulong ito na: (1) Malaman ang epekto ng paniniwala sa suwerte at (...) malas sa pagtaya sa lotto sa pangarap at pagkilos ng mga Pilipino sa iba't ibang aspeto ng buhay, (2) Paano nakakaapekto ang popularidad ng lotto sa mga mahihirap na sektor ng lipunan, at ano ang potensyal na mga banta at pinsala nito (3) Mga sikolohiyang Pilipinong masasalamin sa paniniwala ng mga Pilipino ukol sa lotto bilang isang instrumento ng pag-asang pangkabuhayan, at ano ang mga implikasyon nito sa lipunang Pilipino. Ang mga natuklasan at ang kanilang mga implikasyon ay maaaring mag-ambag sa ating pag-unawa sa mga pangunahing sanhi at epekto ng pag-asa ng mga Pilipino sa suwerte na may kaugnayan sa lotto, at maaaring humantong sa mga reporma at solusyon upang matugunan ang mga kaugnay na isyu. Sa huli, ang artikulong ito ay naglalayong magbigay ng mas malalim na kaalaman at pag-unawa sa kulturang Pilipino ng pag-asa at paniniwala na may kaugnayan sa suwerte at kapalaran. (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)

Isang patuloy na hamon sa wikang Filipino at sa mga gumagamit nito sa panahon ng pandemya ang pagpapayabong ng kultura ng saliksik. Sa kabila ng iba’t ibang modalidad ng pagkatuto ng mag-aaral, tinukoy ng pag-aaral na ito ang mga paraan ng guro sa pagtuturo ng Pananaliksik gayundin naitala ang kanilang karanasan at natukoy ang hamon at suliranin na kanilang kinaharap. Penomenolohikal na pagsusuri ang disenyong ginamit sa pag-aaral na tumuon sa pagsukat at pag-aanalisang tematiko ng mga tugon. Inilahad ng pag-aaral (...) na ito na malaking suliranin ng guro at mag-aaral ang mahinang koneksyon ng internet, subalit nagampanan pa rin ng bawat isa ang kani-kanilang tungkulin; ang maghatid ng impormasyon sa bahagi ng guro at unawain ang mga ito sa panig naman ng mag-aaral nang sa ganoon ay makabuo ng papel-pampananaliksik sa wikang Filipino. At bilang tugon sa pangangailangan ng mag-aaral gayundin ang maisulong ang intelektwalisasyon ng Wika, may mungkahing programa na inilaan sa patuloy na pagpapalakas ng wikang Filipino. (shrink)

Neidische Gedanken, neidische Gefühle, neidische Menschen sind im alltäglichen Leben gegenwärtig. Kaum vergeht ein Tag, an dem man nicht mit dem Phänomen des Neides konfrontiert wäre. Bei sich selbst mag man ihn schon gar nicht, denn der Neid ist ein schmerzliches und unschönes Gefühl. Obwohl der Neid ein alltägliches Phänomen ist, bleibt er im Alltag ein weitgehend tabuisiertes Thema: Über den Neid spricht man entweder gar nicht oder nur selten. Falls man doch über den Neid spricht, dann zumeist über den (...) Neid der Anderen. Den Neid der Anderen kann man nämlich als einen gewissen Triumph verbuchen: entweder als eine Art von Anerkennung des eigenen sozialen Status oder als ein Genuss dessen, was man bei den Anderen an Neid erregenden Gütern vorzuweisen hat. Der kleine Mann erfreut sich am Neid der Anderen. Entfremdet von der unmittelbaren Freude am eigenen Tun und Lassen sowie von den Früchten seiner Arbeit kann er sie nur noch auf dem Umweg über die Erniedrigung der Anderen erleben. Der Spießer braucht den neidischen Blick der kleineren Anderen, um zu bemerken, was er ist und was er hat. Denn der Spießer weiß nicht, wer er ist, und weil er nicht weiß, wer er ist, muss er ersatzweise wenigstens wissen, was er ist, und er ist vor allem das, was er erreicht hat und was er hat. (Einleitung). (shrink)

Der Neid wirft als Thema der philosophischen und psychologischen Reflexion eine ganze Reihe von Fragen auf, die theoretischer Natur sind. Dazu gehören die Frage nach der Analyse des alltagspsychologischen Neidbegriffes, die damit verbundene Frage nach der Abgrenzung des psychologischen Phänomens des Neides im Verhältnis zu verwandten Emotionen, wie z.B. Eifersucht, Habgier, Ehrgeiz, Wetteifer, Geiz, etc., die Frage nach dem Wesen des Neides als einem reflexartigen und unkontrollierbaren Affekt, als einer dauerhaften und unbewussten Stimmung, als einem momentanen, intentionalen und bewussten Gefühl, (...) als einem selbst erzeugten Konstrukt aus Gedanken und Gefühlen, etc. und schließlich die Frage nach den Ursachen des Neides als einem gewissen Mangel an Selbstsein und als Folge einer langfristig scheiternden Selbstverwirklichung. -/- Der Neid wirft als Thema der philosophischen und psychologischen Reflexion aber auch verschiedene Fragen auf, die praktischer Natur sind. Diese Fragen gehören weitgehend in dem Umkreis der Probleme der philosophischen Lebenskunst. Zu den Fragen der philosophischen Lebenskunst, der ars vivendi, die als die wohl wichtigste menschliche Kunst auch die philosophische Kunst des Alterns und Sterbens, die ars moriendi umfasst, gehört einerseits das Problem der Abwehr der Neider durch die Beneideten und andererseits das Problem der Überwindung des Neides beim Neider selbst. In der Geschichte der europäischen Philosophie wurden seit der Antike vor allem immer wieder lebensphilosophische Ratschläge zur Bewältigung beider Probleme erteilt. Dabei standen jedoch die Ratschläge zur Abwehr der Neider im Vordergrund. Das kommt weitgehend daher, dass vor allem in der Antike, aber auch im Mittelalter und selbst noch in der Neuzeit diese Art von Literatur den Begüterten und Gebildeten diente, die auf Grund ihrer privilegierten sozialen Stellung im Großen und Ganzen eher ein Interesse an der Abwehr der Neider als an der Neidüberwindung hatten. Dennoch darf man nicht meinen, dass diese klassischen Autoren und ihre Leser selbst ganz ohne äußere und innere Anlässe für Neidgefühle und -gedanken gewesen wären. Deswegen darf man vermuten, dass auch die Scheu davor, sich selbst als einen gewohnheitsmäßig neidischen Menschen oder zumindest als einen Gelegenheitsneider zu präsentieren, dazu geführt haben mag, dass man sich aus einem gewissen Selbstschutz zurückgehalten hat, Überlegungen und Ratschläge zur Überwindung des eigenen Neides öffentlich zu äußern und zu erörtern. (Einleitung). (shrink)

Bolzano hat seine Wahrscheinlichkeitslehre in 15 Punkten im § 14 des zweiten Teils seiner Religionswissenschaft sowie in 20 Punkten im § 161 des zweiten Bandes seiner Wissenschaftslehre niedergelegt. (Ich verweise auf die Religionswissenschaft mit 'RW II', auf die Wissenschaftslehre mit 'WL II'.) In der RW II (vgl. p. 37) ist seine Wahrscheinlichkeitslehre eingebettet in seine Ausführungen "Über die Natur der historischen Erkenntniß, besonders in Hinsicht auf Wunder", und die Lehrsätze, die er dort zusammenstellt, dienen dem ausdrücklichen Zweck, mit mathematischem Rüstzeug (...) Lehrmeinungen entgegentreten zu können, gemäß denen Wundererzählungen keine Glaubwürdigkeit zukommen könne. In der WL II (vgl. p. 171) führt Bolzano im großen und ganzen dieselben Lehrsätze an wie in der RW II, entwickelt nun aber die Wahrscheinlichkeitslehre innerhalb seiner Lehre von den Sätzen an sich. Dabei orientiert er sich zwar durchaus an den Lehrsätzen in den damaligen "Schriften über die Wahrscheinlichkeitsrechnung" (vg. WL II, p. 190), korrigiert aber dort, wo es ihm nötig erscheint (vgl. WL II, pp. 187–191), und leistet so im Grunde eine Reformulierung des elementaren Teils der Wahrscheinlichkeitslehre seiner Zeit innerhalb seiner logischen Theorie von den Sätzen an sich. — Ich bezwecke hier keine historische Studie über Bolzanos Wahrscheinlichkeitslehre, obwohl es von Interesse sein mag, herauszuschälen, worin Bolzano mit welchen Wahrscheinlichkeitstheoretikern seiner Zeit übereinstimmt, und worin nicht, insbesondere welche Schwächen von Bolzanos Wahrscheinlichkeitslehre Schwächen aller damaligen Wahrscheinlichkeitslehren waren. Eine wichtige systematische Studie über Bolzanos Wahrscheinlichkeitslehre bestünde — wie von Berg (1962, pp. 148-149) ansatzweise begonnen — in einer exakten Rekonstruktion seiner Wahrscheinlichkeitslehre innerhalb eines konsistenten logischen Systems der Sätze an sich. Ich werde im folgenden etwas bei weitem Bescheideneres, doch möglicherweise durchaus Fruchtbares versuchen, nämlich die Lehrsätze von Bolzanos Wahrscheinlichkeitslehre in die Sprache einer heutigen Wahrscheinlichkeitstheorie zu übersetzen und die übersetzten Lehrsätze dort herzuleiten, soweit dies möglich ist. Man könnte dann in einem zweiten Schritt, der hier nicht mehr unternommen wird, untersuchen, inwieweit jene Thesen, die den Herleitungstest überstanden haben, jenen Zweck erfüllen, den Bolzano ihnen ursprünglich zugedacht hat: als mathematisches Rüstzeug für seine Argumentationen gegen die Auffassung zu dienen, Wundererzählungen könnten nicht glaubwürdig sein. (shrink)

Sa pagtuturo ng asignaturang Filipino, na tumutuon ng pansin sa wika at panitikan. Bahagi ng usaping pampanitikan ang iba’t ibang halimbawa nito, magmula sa maikling kuwento, kuwentong-bayan, tula, epiko at marami pang iba. Layunin ng pag-aaral na: (1) matuklasan ang nararapat na halimbawang kuwentong-bayan na maaaring maging karagdagang kagamitang pampagtuturo at pagkatuto para sa mga guro at mag-aaral sa sekondarya sa Silangang Distrito sa bayan ng Labo, (2) malaman ang uri ng kagamitang pampagtuturo na paglalapatan ng nasabing kuwentong-bayan batay sa (...) panlasa ng mga gagamit nito, (3) malaman ang antas ng katanggapan batay sa ginagawang karagdagang kagamitang pampagtuturo. Mula sa ginawang pangangalap ng datos mula sa inisyal na sarbey na sinagutan ng mga mag-aaral mula sa ikapitong baytang at mga guro na nagtuturo ng asignaturang Filipino sa antas sekondarya, lumabas na ang alamat ang pinakabasahin at ninanais na makalap at mabuo bilang isang modyul na karagdagang kagamitang pampagtuturo at pagkatuto. Samantala sa kagamitang panturo ay nanguna ang modyul dito upang paglagyan ng napiling uri ng kuwentong-bayan para sa pag-aaral na ito. Sa pangangalap ng mga alamat, napag-alaman na may mga alamat o kasaysayan ang bawat barangay. Malaki ang tyansa na ang kagamitang nabuo sa pag-aaral na ito ang magsilbing daan upang mapreserba at manatiling buhay ang ganitong uri ng akda na sasalamin pamumuhay ng lugar na pinagmulan nito kahit lumipas man ang mahabang panahon. Ang natapos na modyul ng mga alamat ay sinuri at pinagtibay ng mga Filipinong guro mula sa Silangang Distrito sa bayan ng Labo sa pamamagitan ng pagsagot sa sarbey ng antas ng katanggapan. (shrink)

Schon der Titel von Kants Aufsatz kann als Hinweis darauf verstanden werden, zu lügen könne, wenn überhaupt, dann nur vermeintlich rechtens sein. Doch geht es um Lügen, die vermeintlich rechtens sein können, ist Kant notorisch unklar, mit Ausnahme dieses Aufsatzes. Denn die Klärung dieser Unklarheit ist gerade Kants systematischer Grund seiner Abfassung. Dieser These folgend wird versucht, Kants Argumentation in Anschluss an Die Metaphysik der Sitten nachzuzeichnen, und das, wofür argumentiert wird, ist: Genau dann, wenn einmal gesprochen werden muss, widerspricht (...) die Lüge, was auch ihr Inhalt sein mag, also formal, dem allgemeinen Sittengesetz in seinen inneren und äußeren Gesetzen. Der paradigmatische Fall für das menschliche Sprechenmüssen ist die äußere Gesetzgebung selbst. (shrink)

Taong 2019 nang magsimula ang paglaganap ng COVID-19 sa Pilipinas, kaya samu’t saring mga impormasyon ang ipinakalat sa bansa upang maiwasan ang pagkalat ng virus lalo na sa mga lugar na matataas ang bilang ng nag positibo, gaya na lamang sa Lungsod ng Quezon. Hinggil rito, ang saliksik na ito na naglalayong malaman at maitala ang Gampanin ng Wikang Filipino sa pag papalaganap ng impormasyon patungkol sa COVID-19. Upang matugunan ang mga hinihingi sa pananaliksik, ito ay gagwin sa deskriptibong paraan, (...) mag o-obserba ang mga mananaliksik sa mga post mula sa mga social media sites ng Lokal na Pamahalaan ng Lungsod ng Quezon, upang malaman ang ginampanan ng Wikang Filipino sa pagpapalaganap ng impormasyon patungkol sa COVID-19. Bilang proseso sa pagkalap ng mga datos, naghanap ang mga mananaliksik ng mga pages o sites na minamanipula ng Lokal na Pamahalaan ng Lungsod ng Quezon na pinagkunan ng mga post na pumapatungkol sa COVID-19. Mula rito makakagawa ang mga mananaliksik ng content analysis mula sa mga post sa iba’t ibang sites kung paano nagamit ang Wikang Filipino at kung paano ito nakatulong upang mas maiwasan pa ang paglaganap ng virus sa Lungsod ng Quezon. Sa saliksik na ito natuklasan na hindi lamang ang Filipino ang ginamit, marami sa mga post na nakalap ay nasa Tag-lish o pinaghalong Filipino at English, dahil sa bago ito sa mga tao, nilayon ng pamahalaan at maging ang Komisyon ng Wikang Filipino na gamitin ang Wikang Filipino dahil hindi lahat ay may kakayahang umintindi ng wikang banyaga. Gayunpama’y nagkaroon din ng ambag ang wikang Ingles dahil maraming pagkakataong gumamit ng mga teknikal na termino na kadalasang maririnig natin sa agham. Nakatutulong ang saliksik na ito upang mas mabigyang linaw ang ginampanan ng wika at sa kung paano nagiging epektibo ang mga pabatid upang maiwasan ang COVID-19. (shrink)

This study aimed to examine the lived experiences of multilingual students in online distance learning during the height of the COVID-19 pandemic. The study utilized the qualitative research design - transcendental phenomenology and employed purposive sampling. The study participants were ten (10) multilingual students among Senior High School Students. A researcher-made questionnaire was reviewed by research experts and was used in individual interviews with the participants. The collected data through interviews underwent thematic analyses and triangulation. Based on the findings, the (...) model was developed through thematic analyses, the Basic Instructional Strategies Aiming to Address the Problems of Multilingual Students in Online Distance Learning MODEL (in the Filipino language: Batayang Instruksiyong estratehiya na Naglalayong Tugunan at Alamin (BINTA) ang mga suliranin ng mga multilinggwal na mag-aaral sa online distance learning) was developed. The BINTA Model represents the lived experiences of multilingual students in online distance learning in terms of the themes that emerged: lack of interaction and communication, difficulty in understanding technical terms, consistency of internet connection, and effective communication. This implies that the model can help improve these students' educational outcomes and experiences by providing appropriate instructional strategies tailored to the needs of multilingual students. Educators can help mitigate these students' challenges and difficulties in an online distance learning environment. Through this, educators can help ensure that multilingual students can engage with the material, participate fully in online discussions and activities, and ultimately achieve their learning goals. (shrink)