How is it possible that emotions in the community can be influenced by media? According to the paper’s concept, this is only understandable if we accept with Marshall McLuhan that media and the human body are not separable. There is no divide. The medium is the message expressed through the body/human being. This has preconditions, because the connection must be based on an analog principle that serves as the transmitter. This lies in non-discursive affectively relevant forms and an equally affectively (...) evaluative mode of perception, as empirical research now confirms. On this basis, as Daniel N. Stern shows, people operate “with vigorous goal-directedness to assure social interactions.” This points to the second premise, that every body/human being – infallibly – perceives a promise in communion with others, namely that of happiness, security, and community. This concept has far-reaching implications for how communities understand themselves, as the research of poststructuralists and frame theorists demonstrates, and as the trial and death of Socrates in ancient Athens attests. (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)

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)

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.

This special issue on affordances bases on the thesis, that all natural and artificial things inhere affordances that appeal to our cognitive system, and thus invite us to look at them, perceive them, think about them, interpret them, and use them. The concept roots in the studies of the American psychologist James J. Gibson from the 1960s. According to him, "things" offer a certain range of possible activities depending on their form, time patterns, and material qualities, thus becoming part of (...) human-thing-interactions. However, affordances can also be culturally trained. This aspect has been intensively discussed subsequently within different disciplines (e.g., Social Sciences, Design Studies). But only recently has the concept received attention in the field of Visual Culture Studies particularly through archaeological scholarship. (shrink)

We live in the age of postmodernism. What does that mean? With a call for essays, we asked for proposals for a better understanding. At the same time, we were looking for posts that show how the arts have processed and are still processing the change from the modern to the postmodern selfconception of man, which has been described by philosophy since the 1950s to today. This special issue thus demonstrates how architects, designers and artists have reacted to the new (...) socio-politically relevant concepts of postmodernism. -/- With contributions of Simone Kraft on architecture, Arianna Fantuzzi on self-portraits, Stephan Schmidt-Wulffen on visual arts in the 1980s, Anna Kristensson on design, Iris Laner on postmodern theory and the work of Jeff Wall, Christiane Wagner on postmodern avatars and finally, I contributed with a text on the deconstruction of the familiar in postmodern theory and the work of Karin Kneffel. (shrink)

In past decades, the subject atmosphere and mood has gone beyond the physio-meteorological and psychological scopes and become a new direction of aesthetics which concerns two sides of the same phenomenon. As the primary sensuous reality constructed by both the perceiving subject and the perceived object, atmosphere and mood are neither a purely subjective state nor an objective thing. Atmosphere is essentially a quasi-object pervaded by a specific affective quality and a ubiquitous phenomenon forming the foundation of our outer life (...) experiences, while mood is a quasi-subject pervaded by specific objective quality and thus a ubiquitous phenomenon forming the foundation of our inner life experiences. A practical dimension is thereby, from the outset, embedded in the consideration of both concepts. This is mainly characterized by actions and, correspondingly, ethical aspects, which concern the design and creation of atmosphere and thus the triggering of mood through works of art. Here, on the one hand, the process of artistic formation, long neglected in the European tradition, is given prominence as an aesthetic practice, and on the other hand, an interactive dialogue is effectively established between the artist, the work and the viewer. Due to the fact that atmosphere and mood, both as in-between, emphasize the interaction of the perceiver and the perceived from two sides, here the decisive question is: in what kind of environment do we live or participate and in what way do we experience it? The focus of aesthetics is now not on the conventional issue whether the environment is beautiful or gives us a sense of beauty, but on how the environment influences our feeling of being there (Befinden) through our own sensuality. Such an approach would contribute to a critical transformation in aesthetic methodology, namely from the ontological and/or epistemological what to the phenomenological and anthropological how. -/- The tension between atmosphere and mood, as revealed here, opens up a large space for exploring a new understanding of aesthetics. On this basis the special issue pursued to diversify this discussion on an international level. (shrink)

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

To relate theories of affordance and frame with the tradition of formal aesthetics, philosophical iconology and the life sciences (keyword Vitality Semiotics) is the starting point of the paper. According to this approach, the structural preconditions of images, as determined by materials, techniques and the composition of the design means, become essential. Through these structures, the producers are able to set impulses that become decisive for the interpretation of space and time or the "scene" as a dynamic event. Against the (...) social and cultural background of the recipients the "scene" gains a meaning to their life. This means to understand the productʼs conception and composition as an affordance which determines the framework of the reception conditions. The benefit of this approach lies in the identification of changes in the self-understanding and thus of trends in to new standards of societies. This is to be illustrated by Exekiasʼ drinking bowl around 540/30 BC in Munich. (shrink)

Special commendation from the Hans-und-Lea-Grundig Prize by the Rosa-Luxemburg-Foundation 2015 - - I - - How do we perceive the world and pictures? The book is based around the hypothesis that we initially perceive the world as well as pictures by feelings and that there is a direct connection between the two. By debating fascination and horror, such as can be triggered by Anselm Kiefer´s Deutschlandbilder, the author discusses their consequences and conclusions for our cultural self-perception. The author develops a (...) comprehensive theory on image and culture which is new in this field of research and also includes the special status of the art. (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)

ABSTRACT The difference between perception and cognition seems introspectively obvious in many cases. Perceiving and thinking have also been assigned quite different roles, in epistemology, in theories of reference and of mental content, in philosophy of psychology, and elsewhere. Yet what is the nature of the distinction? In what way, or ways, do perception and cognition differ? The paper reviews recent work on these questions. Four main respects in which perception and cognition have been held to differ are discussed. First, (...) their phenomenal character, such as the often-remarked vivacity or immediacy of perception. Second, the way in which they represent the world, e.g. the non-propositional nature of the contents, or non-discursive character of the vehicles, that have been held to characterise perceptual representation. Third, their place in cognitive architecture, i.e., roughly, in the information-flow of the mind, such as their alleged (non-)modularity. Fourth, their mind-world relations, e.g. the way in which perceptions seem to be tightly causally linked with distal or proximal stimuli. Against this background, we distinguish some main options for an account of the perception/cognition distinction, in particular concerning whether there is one, several, or no interesting and principled distinction(s) to be drawn here. (shrink)

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (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)

So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...) Hartmut Böhme, erfassen wir diese und es sind wir selbst, die diese herstellen, wie es vertiefend Aby M. Warburg und Ernst Cassirer eröffnen. D.h. nicht nur der Produzent, sondern auch der Rezipient sind für ihr jeweiliges "Tun" verantwortlich. (shrink)

According to the neo-Kantian and cultural anthropologist Ernst Cassirer, man always interacts with nature. This assumption forms the basis for his philosophical approach to the Philosophy of Symbolic Forms of 1929. It is based on the thesis that we do not conceive nature as objects (‘Ding-Wahrnehmung’), but immediately feel and suffer nature through the so-called ‘perception of expression’ (‘Ausdrucks-Wahrnehmung’). Thus, our understanding of the world is based on interaction with nature, because feeling and suffering depend on something we feel and (...) suffer about. In conclusion, Cassirer developed already a theory of Enaktivismus, embodiment, and respectively to modern film theories of immersion. The thesis of the following paper is based on these findings of Cassirer and states that that there is no dichotomy between nature and man. (shrink)

Cognitive theories claim, whereas non-cognitive theories deny, that cognitive access is constitutive of phenomenology. Evidence in favor of non-cognitive theories has recently been collected by Block and is based on the high capacity of participants in partial-report experiments compared to the capacity of the working memory. In reply, defenders of cognitive theories have searched for alternative interpretations of such results that make visual awareness compatible with the capacity of the working memory; and so the conclusions of such experiments remain controversial. (...) Instead of entering the debate between alternative interpretations of partial-report experiments, this paper offers an alternative line of research that could settle the discussion between cognitive and non-cognitive theories of consciousness. Here I relate the neural correlates of cognitive access to empirical research into the neurophysiology of dreams; cognitive access seems to depend on the activity of the dorsolateral prefrontal cortex. However, that area is strongly deactivated during sleep; a period when we entertain conscious experiences: dreams. This approach also avoids the classic objection that consciousness should be inextricably tied to reportability or it would fall outside the realm of science. (shrink)

Sebastian Schmidt (Zürich) fragt in seinem Beitrag »Wie vernünftig sind Verschwörungstheoretiker?«, wie es um die Vernunft derjenigen steht, die einer Verschwörungstheorie über die Corona-Pandemie anhängen. Im Umgang mit Corona scheint sich zu bestätigen, was die Psychologie seit Jahrzehnten lehrt: Menschen unterliegen in ihrem Denken kognitiven Fehlern und Verzerrungen. Doch ist verschwörungstheoretisches Denken, das solche Fehler ebenfalls begeht, deshalb irrational? Schmidt warnt davor, einander zu leichtfertig als irrational zu betrachten, und verweist auf die wichtige Rolle, die intellektuelles Vertrauen in Wissensgemeinschaften (...) spielt. Am Beispiel des sogenannten Bestätigungsfehlers führt er aus, dass Menschen, die ihre Überzeugungen nicht fortwährend kritisch prüfen, in diesem Verhalten durchaus rational sein können. (shrink)

By observing processes of art perception two contradicting phenomena come to the fore: a feeling of closeness and distance at the same time. The phenomenologists Martin Heidegger and Bernhard Waldenfels describe this connection as a matter of being ("Seinsweise") of images, that allows new views of the world whereas the two cultural anthropologists Ernst Cassirer and Hartmut Böhme note that the connection between both can be seen as the basis of experience ("Erlebnisweise") of images and therefore serves for communication. Here (...) one can see, knowledge-oriented notions the former promote do not exclude semiotic notions the latter imply. (shrink)

This paper argues for the normative significance of attention. Attention plays an important role when describing an individual’s mind and agency, and in explaining many central facts about that individual. In addition, many in the public want answers and guidance with regard to normative questions about attention. Given that attention is both descriptively central and the public cares about normative guidance with regard to it, attention should be central also in normative philosophy. We need an ethics of attention: a field (...) of study of which normative pressures, if any, govern attention. Like the ethics of belief, the ethics of attention will connect those normative questions to issues regarding the nature of attention, i.e. to what is subject to such normative pressures. Philosophers should develop an ethics of attention that helps to provide normative guidance and that is commensurate in its richness to the descriptive significance of attention. The second half of the paper sketches a framework that may help us to get started at developing the ethics of attention. (shrink)

In having an experience one is aware of having it. Having an experience requires some form of access to one's own state, which distinguishes phenomenally conscious mental states from other kinds of mental states. Until very recently, Higher-Order (HO) theories were the only game in town aiming at offering a full-fledged account of this form of awareness within the analytical tradition. Independently of any objections that HO theories face, First/Same-Order (F/SO) theorists need to offer an account of such access to (...) become a plausible alternative. My aim in this paper is twofold. In the first place, I wish to widen the logical space of the discussion among theories of consciousness by offering a distinction, orthogonal to that between F/SO and HO theories, between what I will call 'Self-Involving' (SI) and 'Mental-State-Involving' (MSI) theories and argue in favor of the former one. In the second place, I will present the basics of a characterization of such a Self-Involving theory in Same-Order terms. (shrink)

The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen (...) und Fremden im Bild. Eine Einführung, 4 - Barbara Margarethe Eggert: Das andere Geschlecht im Altarraum – exklusive Textilien als inklusive Medien. Studien zum Gösser Ornat, 7 - Birke Sturm: Politik der Schönheit: Zur Konstruktion einer ›wissenschaftlichen‹ Bildästhetik schöner weiblicher Körper um 1900 am Beispiel des Gynäkologen Carl Heinrich Stratz, 22 - Melis Avkiran: Das rassifizierte Fremde im Bild. Zur Genese differenzbildender Konzepte in der Kunst des 15. Jahrhunderts am Beispiel des Malers Hans Memling, 40 - Leonie Licht: weiß zwischen schwarz zwischen weiß – Geschichten von Identität im Bild, 75 - Julia Austermann: Queere Interventionen im kommunistischen Polen – Krzysztof Jung und sein ›plastisches Theater‹, 91 - Sabine Engel: Tizians Porträt der Laura Dianti. Aneignung und Transformation zwischen Orient und Okzident, 111 - Anna Christina Schütz: Osman Hamdi Beys Türkische Straßenszene. Der Teppich als Verhandlungsort kultureller Identitäten im ausgehenden 19. Jahrhundert, 146 - Benjamin Häger, Claudia Jürgens: Ikonische Stadtstrategien. Das Fassadenplakat und die Musterfassade als Instrumente machtpolitischer Repräsentation, 175 - Irene Schütze: Fehlende Verweise, rudimentäre ›Markierungen‹: aufgeweichte Grenzverläufe zwischen Kunst und Alltag, 204 - Stefan Römer: Interesse an und in einem Bildarchiv für Migrant/innen und Flüchtlinge, 221 - Viola Nordsieck: Von der Fähigkeit, einen Stuhl zu ignorieren. A. N. Whiteheads Konzept der Wahrnehmung als symbolisierender Tätigkeit und die Art, wie wir Bilder als Bilder sehen, 239 - David Jöckel: Mythos und Bild. Roland Barthes’ Semiologie bildlicher Stereotypisierung, 255 -/- - Kurzbiographien der Autorinnen und Autoren, 274 - Impressum, 278. (shrink)

We propose a fundamental challenge to the feasibility of moral progress: most extant theories of progress, we will argue, assume an unrealistic level of cognitive control people must have over their moral judgments for moral progress to occur. Moral progress depends at least in part on the possibility of individual people improving their moral cognition to eliminate the pernicious influence of various epistemically defective biases and other distorting factors. Since the degree of control people can exert over their moral cognition (...) tends to be significantly overestimated, the prospects of moral progress face a formidable problem, the force of which has thus far been underappreciated. In the paper, we will provide both conceptual and empirical arguments for this thesis, and explain its most important implications. (shrink)

Meta-ethical expressivism was traditionally seen as the view that normative judgements are not beliefs. Recently, quasi-realists have argued, via a minimalist conception of “belief”, that expressivism is fully compatible with normative judgements being beliefs. This maneuver is successful, however, only if quasi-realists have really offered an expressivist-friendly account of belief that captures all platitudes characterizing belief. But, quasi-realists’ account has a crucial gap, namely how to account for the propositional contents of normative beliefs in an expressivist-friendly manner. In particular, quasi-realists (...) haven’t yet developed their preferred option, a “minimalist” or “deflationist” account of such contents. This paper aims to close that gap. I argue that expressivists who accepts conceptual role semantics and use an account of that-clauses in their use in belief-attributions based on Wilfrid Sellars’ work can give a deflationary account of the contents of beliefs that is compatible with normative judgements being beliefs, even if expressivism is true. (shrink)

What should we believe when epistemic and practical reasons pull in opposite directions? The traditional view states that there is something that we ought epistemically to believe and something that we ought practically to (cause ourselves to) believe, period. More recent accounts challenge this view, either by arguing that there is something that we ought simpliciter to believe, all epistemic and practical reasons considered (the weighing view), or by denying the normativity of epistemic reasons altogether (epistemic anti-normativism). I argue against (...) both accounts and defend the traditional view. An agent can be blameworthy in doxastic dilemmas for complying with their practical but not their epistemic reasons. This reveals how epistemic reasons are normative: the concept of epistemic blame helps us track epistemic normativity. (shrink)

Higher-Order Thought (HOT) theories of consciousness maintain that the kind of awareness necessary for phenomenal consciousness depends on the cognitive accessibility that underlies reporting. -/- There is empirical evidence strongly suggesting that the cognitive accessibility that underlies the ability to report visual experiences depends on the activity of the dorsolateral prefrontal cortex (dlPFC). This area, however, is highly deactivated during the conscious experiences we have during sleep: dreams. HOT theories are jeopardized, as I will argue. I will briefly present HOT (...) theories in the first section. Section 2 offers empirical evidence to the effect that the cognitive accessibility that underlies the ability to report depends on the dorsolateral prefrontal cortex: dlPFC is the neural correlate of HOTs. Section 3 shows the evidence we have of the deactivation of this brain area during dreams and, in section 4, I present my argument. Finally, I consider and rejoin two possible replies that my opponent can offer: the possibility of an alternative neural correlate of HOTs during dreams and the denial that we have phenomenally conscious experiences during sleep. (shrink)

What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...) uncovered or "deconstructed". This is more than necessary for them, because media, be it pictures or language, in truth convey values that are culturally and socially significant. They ‘iterate’ these values subliminally, because what shows up are only placeholders and thus mere forms (“structures of graphematic”) that are superficially realised as facts (“stereotypes”). In this way, according to Barthes, we all accept without question the values hidden behind them, so that they can gain a normative power that unconsciously guides our thinking, our decisions and our actions. Afterwards, it is Judith Butler who critically asked: How can we ever escape from this? Given the power of the subliminal dominant discourses, she saw the only effective solution “im Umdeuten” (in reinterpretation) of their subliminal values. In order to finally escape this “parasitic existence at the ritual”, the media philosopher Walter Benjamin already suggested to trigger "Chockwirkungen” (shock effects) in the viewer. It is the German painter Karin Kneffel, so it shall be shown, who has realized this with her series Fruits and Interiors in the most beautiful photorealistic strategy. (shrink)

Neither the art historians Panofsky and Warburg nor the philosopher Cassirer had any interest with their cultural-historical research in fact-based, historical questions. An approach that had become common in the 19th century due to the loss of validity of the speculative aesthetics. On the contrary, instead of this substantial understanding as the documentary concept represents, these researchers focused on a functional understanding of art historical sources. Nevertheless, in contrast to this starting point, Panofsky invented a methodological procedure, the so-called iconological (...) method, which in turn led back to a documentary-focused historical analysis of artistic artefacts that is still recognized today. The goal is to rediscover the original background of Panofsky´s method. This should make it clear that the original idea of the image concept pursued by Warburg and Cassirer, which had been lost or obscured by the aftermath of National Socialism in Germany, can be made fruitful in a new light today. This path may open up iconology to “image science”/Bildwissenschaft and thus transform the former from a purely historical approach to an understanding relevant to cultural processes and thus to human action. (shrink)

It is often argued that there are no practical reasons for belief because we could not believe for such reasons. A recent reply by pragmatists is that we can often believe for practical reasons because we can often cause our beliefs for practical reasons. This paper reveals the limits of this recently popular strategy for defending pragmatism, and thereby reshapes the dialectical options for pragmatism. I argue that the strategy presupposes that reasons for being in non-intentional states are not reducible (...) to reasons to act. Pragmatists who want to preserve a motivational constraint on reasons therefore have exactly two options: either arguing that there are irreducible reasons for being in non-intentional states ; or arguing that we can believe directly for practical reasons. I argue that the prospects for the former option are dim because irreducible reasons to be in states are hard to square with the motivational constraint on reasons. Returning to the more traditional route of arguing for pragmatism by defending a version of doxastic voluntarism therefore seems to be the more promising way for pragmatists to go. (shrink)

Conceptual engineering is the enterprise of evaluating and improving our representational devices. But how should we conduct this enterprise? One increasingly popular answer to this question proposes that conceptual engineering should proceed in terms of the functions of our representational devices. In this paper, we argue that the best way of understanding this suggestion is in terms of normative functions, where normative functions of concepts are, roughly, things that they allow us to do that matter normatively (for example, things in (...) virtue of which we have normative reasons to have these concepts). Not only does this introduce a novel view about functions to the literature. This proposal also fits more naturally than the alternatives with conceptual engineering as a normative enterprise, and it allows functions to play all of the explanatory roles assigned to them in the conceptual engineering literature. Our discussion of the explanatory advantages of normative functions also advances the understanding of the ways in which concepts can be authoritative, what this means for conceptual engineering, and highlights the importance of political philosophy for thinking about conceptual engineering in practice. Furthermore, the paper explicates what kind of role considerations about function can and should actually play in conceptual engineering. (shrink)

How does an audience receive a work of art? Does the experience only affect the viewer or does it have an effect and thus influence his or her actions? It is the cultural philosopher Ernst Cassirer and his successors in philosophy and developmental psychology as well as in neuroscience to this day who postulate that perception in general and perception of art in particular are not neutral in their origins but alive and thus meaningful. They assume that both are based (...) on analogous principles: in the perception of moving forms and spatial forms in the world and rhythms of forms, colors, light and shadow in art. In practice, this means that perception and its felt effects have an effect on the feelings of the viewer and thus help him to inform himself directly and intensively about the world through art. In contrast to this general epistemological aesthetic theory, which philosophers in particular accept, it is to be shown that this assumption must be redefined not with reference to the world, but with reference to art and design. For the latter, the approach will be extended to a semiotic theory. The background is that in contrast to the world, the designed forms and thus the designed intentions of the artist and designer or his client in relation to the chosen theme have an impact on the viewer and thus on culture and its communicative dynamics. (shrink)

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

What distinguishes humans form animals? Acknowledging that humans are part of nature, that can process psychologically their affective-vital reactions to nature, and thus be held responsible for cultural processes, is the result of art historical, cultural-philosophical and life science research over the past two centuries. This line of argumentation led to the consideration that there must also be a connection between affective-psychological reactions and formal, a-historical mechanisms that are usually used by the arts. However, influenced by classical aesthetic theory, no (...) connection to culturally relevant communication processes has been established. It is the concern of the following scientific-historical study to establish this possible connection between the three in retrospect of research from the mid-19th century to the Hamburg circle around the art historian Aby Warburg, the philosopher Ernst Cassirer and the developmental psychologist Heinz Werner in the 1920s and the emergence of embodiment theories in the second half of the 20th century. (shrink)

I argue that the problem of responsibility for attitudes is best understood as a puzzle about how we are responsible for responding to our object-given reasons for attitudes – i.e., how we are responsible for being (ir)rational. The problem can be solved, I propose, by understanding the normative force of reasons for attitudes in terms of blameworthiness. I present a puzzle about the existence of epistemic and mental blame which poses a challenge for the very idea of reasons for attitudes. (...) We are left with three options: denying that there are any reasons for attitudes, opting for pragmatism about reasons for attitudes, or arguing that the challenge rests on a misunderstanding of the normative force of reasons for attitudes. I finally suggest a version of the last strategy. We can understand the normative force of reasons for attitudes, and thereby solve the problem of mental responsibility, by acknowledging that the way we blame each other for failing to respond correctly to our reasons for attitudes is different from the way we blame each other when one failed to respond correctly to reasons for action. (shrink)

Broome takes the debate on rationality to be concerned with the ordinary use of 'rational'. I argue that this is at best misleading. For the object of current theories of rationality is determined by a specific use of 'rational' that is intimately connected to blame and praise. I call the property it refers to 'rationalityRESP'. This focus on rationalityRESP, I argue, has two significant implications for Broome's critique of theories of rationality as reasons-responsiveness. First, rationalityRESP is plausibly conceived of as (...) a kind of reasons-responsiveness. Secondly, Broome's dispute with internalists about normativity as well as his dispute with externalists about rationality both hinge on questions regarding the concept of responsibility. I conclude that philosophers should integrate discussions about responsibility in their debates about rationality. (shrink)

In this paper, I analyze the concept of ineffability: what does it mean to say that something cannot be said? I begin by distinguishing ineffability from paradox: if something cannot be said truly or without contradiction, this is not an instance of ineffability. Next, I distinguish two different meanings of ‘saying something’ which result from a fundamental ambiguity in the term ‘language’, viz. language as a system of symbols and language as a medium of communication. Accordingly, ‘ineffability’ is ambiguous, too, (...) and we should make a distinction between weak and strong ineffability. Weak ineffability is rooted in the deficiencies of a particular language while strong ineffability stems from the structure of a particular cognitive system and its capacities for conceptual mental representation. Mental contents are only sayable if we are able to conceptualize them and then create signs to represent them in communication. (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)

This paper aims to counter the recent opinion that there is a peculiar epistemology in the reformed Church which made it negative to natural theology. First, it is shown that there was an early and unanimous adoption of natural theology as the culmination of physics and the beginning of metaphysics by the sixteenth and seventeenth century philosophers of good standing in the reformed Church. Second, it is argued that natural theology cannot be based on revelation, should not assume a peculiar (...) analysis of knowledge and must not pass over demonstration. (shrink)

How can we be responsible for our attitudes if we cannot normally choose what we believe, desire, feel, and intend? This problem has received much attention during the last decades, both in epistemology and ethics. Yet its connections to discussions about reasons and rationality have been largely overlooked. This book develops the foundations of an ethics of mind by investigating the responsibility that is presupposed by the requirements of rationality that govern our attitudes. It has five main goals. First, it (...) reinterprets the problem of responsibility for attitudes as a problem about the normativity of rationality. Second, it connects substantive and structural rationality by drawing on debates about responsibility. Third, it supports recent accounts of the normativity of rationality by explicitly defending the view that epistemic reasons and other ‘right-kind’ reasons are genuine normative reasons. Fourth, it breaks the stalemate between rationalist and voluntarist accounts of mental responsibility by proposing a hybrid view. Finally, it argues that irrationality can warrant moral blame, thus revealing an unnoticed normative force of rational requirements. Length of manuscript: 85,000 words. (shrink)

I argue that believing at will – i.e. believing for practical reasons – is in some sense possible and in some sense impossible. It is impossible insofar as we think of belief formation as a re-sult of our exercise of certain capacities (perception, memory, agency). But insofar as we think of belief formation as an action that might lead to such a result (i.e. a deliberation or an in-quiry), believing at will is possible. First I present and clarify the problem (...) and its philosophical relevance (section 1). I then argue that a belief formation as an immediate reaction to practical reasons is not necessarily equivalent to believing at will because the causal mechanism that leads to the formation might be deviant (section 2). Finally, I explain the difference between the two above mentioned meanings of “belief formation” in order to clarify the possibility and impossibility of believing at will (section 3). (shrink)

This article starts from the assumption that there is a connection between art and language and responsibility. What is it based on? It follows on from the research of the Hamburg Circle in the 1920s by Ernst Cassirer and Aby M. Warburg, and was strengthened in the 2000s by Hartmut Böhme. Their joint starting point is the emotional life of human beings. Thus, they assume that already the perception is shaped by it and can be increased in rituals. Comparably hardly (...) noticed by us, it continues to have an effect in art and language and thus influences the recipient. From this derives the demand that both the one who speaks and the one who is creatively active bears responsibility for his or her doing. With the knowledge of the effect of art and language, however, the recipient is also required to take responsibility for his actions influenced by it. The article aims to show this connection, which is deeply rooted in the nature of human beings. -/- The article was originally published in German. It has now been translated by the author with the kind permission of the Evangelical Church in Germany. Additions were made only in the notes and in the bibliography. The concept for the text goes back to a conference of the Evangelical Academy of the Martin Luther City of Wittenberg (Saxony). On this basis, the author was invited to contribute to the publication of the Evangelical Church in Germany (EKD) Mitteilungen—Zur Erneuerung evangelischer Predigtkultur (Kirche im Aufbruch 5), edited by Kathrin Oxen and Dietrich Sagert. Leipzig: Evangelische Verlagsanstalt, 2013. The selection of the text for this issue of Art Style Magazine was based on one of the fundamental ideals of Metropolis, which sees itself as democratic and based on the responsibility of each member in dealing with art and language. (shrink)

Higher-order thought theories of consciousness attempt to explain what it takes for a mental state to be conscious, rather than unconscious, by means of a HOT that represents oneself as being in the state in question. Rosenthal Consciousness and the self: new essays, Cambridge University Press, Cambridge, 2011) stresses that the way we are aware of our own conscious states requires essentially indexical self-reference. The challenge for defenders of HOT theories is to show that there is a way to explain (...) the required reference-fixing mechanisms that is compatible with the theory. According to Rosenthal, the reference to oneself as such is grounded in the disposition to identify the individual the HOT refers to as the individual who has that HOT. I argue that this leads to a vicious infinite regress on the more than plausible assumption that our cognitive capacities are limited. This leaves such theories without a foundation, since self-reference is thought essential to consciousness. (shrink)

Representations are not only used in our folk-psychological explanations of behaviour, but are also fruitfully postulated, for example, in cognitive science. The mainstream view in cognitive science maintains that our mind is a representational system. This popular view requires an understanding of the nature of the entities they are postulating. Teleosemantic theories face this challenge, unpacking the normativity in the relation of representation by appealing to the teleological function of the representing state. It has been argued that, if intentionality is (...) to be explained in teleological terms, then the function of a state cannot depend on its phylogenetical history, given the metaphysical possibility of a duplicate of an intentional being that lacks an evolutionary history. In this paper, I present a method to produce, according to our current knowledge in genetic engineering, human-like individuals who are not the product of natural selection in the required sense. This variation will be used to shed light on the main replies that have been offered in the literature to the Swampman thought experiment. I argue that these replies are not satisfactory: representations should better not depend on natural selection. I conclude that a non-etiological notion of function is to be preferred for characterizing the relation of representation. (shrink)

Eva Schmidt argues that facts about incoherent beliefs can be non-evidential epistemic reasons to suspend judgment. In this commentary, I argue that incoherence-based reasons to suspend are epistemically superfluous: if the subjects in Schmidt’s cases ought to suspend judgment, then they should do so merely on the basis of their evidential reasons. This suggests a more general strategy to reduce the apparent normativity of coherence to the normativity of evidence. I conclude with some remarks on the independent interest that reasons-first (...) epistemology might have within an evidentialist framework. (shrink)

Many of our attitudes are non-culpable: there was nothing that we should have done to avoid holding them. I argue that we can still be blameworthy for non-culpable attitudes: they can impair our relationships in ways that make our full practice of apology and forgiveness intelligible. My argument poses a new challenge to indirect voluntarists, who attempt to reduce all responsibility for attitudes to responsibility for prior actions and omissions. Rationalists, who instead explain attitudinal responsibility by appeal to reasons-responsiveness, can (...) make sense of blameworthiness for non-culpable attitudes. In response, voluntarists could propose a revision of our actual practices. This would lead us into a quite different debate. (shrink)

The issue of faith and reason arises from the claim that there are two kinds of truths: some truths are discoverable to human understanding and some are not. This paper argues that the epistemology of the prominent orthodox protestant theologian John Owen (1616–1683) does not fit the labels of evidentialism and fideism. According to evidentialism, every cognitive act (including faith) must depend on evidence available to reason. According to fideism, there is no relation between faith and reason so that nothing (...) of reason can be counted for or against faith. But Owen is a fideist in the sense that faith is not based on rational evidence, and an evidentialist in the sense that Christian faith ought to have some rational or cognitive support. Philosophical arguments count in favour of faith and are not the ground of faith. The paper suggests that this nuanced view is a viable alternative and option. (shrink)

Saying that x is ineffable seems to be paradoxical – either I cannot say anything about x, not even that it is ineffable – or I can say that it is ineffable, but then I can say something and it is not ineffable. In this article, I discuss Alston’s version of the paradox and a solution proposed by Hick which employs the concept of formal and substantial predicates. I reject Hick’s proposal and develop a different account based on some passages (...) from Pseudo-Dionysius’ Mystica Theologia. ‘God is ineffable’ is a metalinguistic statement concerning propositions about God: not all propositions about God are expressible in a human language. (shrink)

I argue first that attention is a (maybe the) paradigmatic case of an object-directed, non-propositional intentional mental episode. In addition attention cannot be reduced to any other (propositional or non-propositional) mental episodes. Yet, second, attention is not a non-propositional mental attitude. It might appear puzzling how one could hold both of these claims. I show how to combine them, and how that combination shows how propositionality and non-propositionality can co-exist in a mental life. The crucial move is one away from (...) an atomistic, building block picture to a more holistic, structural picture. (shrink)