Hermann J. Cloeren - Otto Friedrich Gruppe 1804-1876: Philosoph, Dichter, Philologe - Journal of the History of Philosophy 43:3 Journal of the History of Philosophy 43.3 367-369 Ludwig Bernays, editor. Otto Friedrich Gruppe 1804–1876: Philosoph, Dichter, Philologe. Freiburg: Rombach, 2004. Pp 279. Paper, € 39,90. Two hundred years after his birth, Otto Friedrich Gruppe is commemorated in essays by American and European scholars. Contributions in English, French, German, and Italian treat diverse aspects of Gruppe's life and work. While Gruppe's (...) son, Otto Gruppe, in his time a well-known philologist, considered his father's best work to be his poetry, O. F. Gruppe's great-grandson, Dr. Ludwig Bernays, the editor of this volume, wisely chose a more encompassing approach. The present review considers contributions dealing with Gruppe's philosophical writings. The essays dealing with Gruppe as a poet, journalist, philologist, and secretary of the Königliche Akademie der Künste have to be considered elsewhere... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Marja Heimonen, “Justifying the Right to Music Education”Hermann J. KaiserFirst of all I would like to thank Marja Heimonen for her paper on a central problem not only for music education as practice but also for the theory of music education. She gives a very clear and convincing answer to a permanently irritating question: How do we justify music education within an ensemble of competing (...) subjects struggling to get a place within the school curriculum. And she does it in a rather uncommon way, that is, by means of legal philosophy. I think her arguments provoke several questions worthy of serious discussion. Some of these questions I shall try to indicate.The first question relates to the right to (music) education. Referring to the Nordic countries she states, "Their legal systems are based on enacted acts and statutes not only protecting the citizens against criminal acts but also securing their rights to receive a certain amount and standard of services the state is obliged to provide" and she continues: "Education is one of the basic rights in Nordic societies." I am interested very much in the wording by which these constitutions declare the right to education respectively to music education. The German constitution, for example, says only, but very bluntly that the entire schooling system stands under control of the state. That means, in connection with compulsory schooling, education at school means no right but a compulsion. (I shall come back to this point later.)The second question relates to the issue of internal versus external goods or instrumental versus self-justifying aims. In her attempt to justify music education Heimonen makes a distinction between internal and external goods, instrumental and self-justifying aims. I wonder if this distinction—though it is very common in theories of action and of value—really refers to different facts; perhaps [End Page 213] it is only a difference in perspectives. I will transform this problem into a question thus: Are aims and values emphasizing a person's well-being really not instrumental with regard to this person? The well-being aims look to me to be necessarily connected to self-justifying aims. Aims, values, activities, facts, situations, and so on, generating well-being, are always instrumental with regard to a person's well-being. What else should they be?On the other hand, are so-called external goods and instrumental aims not self-justifying aims as well, again from the point of view of the person concerned? Are not aims which favor the training of a future professional (so called instrumental aims) self-justifying with regard to this person since they contribute very much to his or her well-being? Thus music educators should not hesitate to demonstrate the real individual, social, economical, and so on, benefit of music education to the society concerned very energetically.The third question arises around the implicit theories of the teacher, the school, and the function of music education as set forth by Heimonen in her paper. Heimonen compares the structure of the (music) teacher's situation with that of a judge. She says:The judge has to operate between the tensions of different interests in the framework of the law consisting of written regulations and the tradition of previous cases that have been solved.... The judge works within a "legal puzzle" just as the music teacher operates in a "musical puzzle": both of them have to think holistically as they try to achieve the best possible solutions in a particular situation, and both of them have to act innovatively and creatively in their practice.Here the question arises as to whether the "musical puzzle" is really the corresponding moment to the "legal puzzle" or whether it is the "music-pedagogical puzzle." I think it is the latter. But the teacher does not have—like the judge "his" legal system—a framework of written regulations and he never is in the situation just to apply rules on different cases. That is to say, one cannot reduce educational activities to making decisions on the basis of right or wrong, good or bad. But even if one would acknowledge an identical structure of the... (shrink)

Nach 1945 stand die theologische Ethik vor der Herausforderung, sich einen konstruktiven Zugang zum politischen System der Bundesrepublik zu verschaffen. Die Alternativen der Vergangenheit waren diskreditiert und der Weg in die Zukunft ungewiss. Georg Kalinna nimmt ausgewahlte Entwurfe der evangelisch-theologischen Ethik in den Blick, um zu zeigen, wie die politische Ethik der 1950er und 1960er Jahre auf diese Herausforderung reagiert hat. Hierbei unterscheidet er verschiedene Konstellationen theologischer Deutungen des politischen Systems. Die Darstellung und Interpretation dieser Konstellationen dienen der zeithistorischen Aufarbeitung (...) politischer Denkmuster in der fruhen Bundesrepublik und damit auch der Auslotung systematischer Potentiale fur eine gegenwartige Hermeneutik des Politischen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he brings a (...) new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)

Marx’s theory of ground rent has been widely used to help understand the trinity of land, labor, and capital. However, limited attention has been paid to the role of water within the Marxian rent framework. This lack of attention proves troubling due to the role of surface waters as an essential means of production throughout capitalism. Here I restate Marxian ground rent in the form of water rent and discuss the function of water-rent in the two dominant surface water rights (...) doctrines of the United States—the riparian doctrine and the doctrine of prior appropriation. In doing so, I revise the distinction between differential rent 1 and differential rent 2 to provide more analytically useful categories. Paying special attention to issues of drought and scarcity, I fully articulate the function of Marxian rent and its four forms for both surface water rights doctrines, while clearly stating where they do and do not differ. (shrink)

Looking for goal-relevant objects in our various environments is one of the most ubiquitous tasks the human visual system has to accomplish. Visual search is guided by a number of separable selective-attention mechanisms that can be categorized as bottom-up driven – guidance by salient physical properties of the current stimuli – or top-down controlled – guidance by observers' “online” knowledge of search-critical object properties. In addition, observers' expectations based on past experience also play also a significant role in goal-directed visual (...) selection. Because sensory environments are typically stable, it is beneficial for the visual system to extract and learn the environmental regularities that are predictive of the target stimulus. This perspective article is concerned with one of these predictive mechanisms: statistical context learning of consistent spatial patterns of target and distractor items in visual search. We review recent studies on context learning and its adaptability to incorporate consistent changes, with the aim to provide new directions to the study of processes involved in the acquisition of search-guiding context memories and their adaptation to consistent contextual changes – from a three-pronged, psychological, computational, and neurobiological perspective. (shrink)

In this commentary, the formation of “pre-iconic” visual-prime persistence is described in the context of prime-specific, independent-component activation at prefrontal and posterior EEG-recording sites. Although this activity subserves neural systems that are near identical to those described by Ruchkin and colleagues, we consider priming to be a dynamic process, identified with patterns of coherence and temporal structure of very high precision.

In a recent study, Becker and Elliott [Becker, C., & Elliott, M. A. . Flicker induced color and form: Interdependencies and relation to stimulation frequency and phase. Consciousness & Cognition, 15, 175–196] described the appearance of subjective experiences of color and form induced by stimulation with intermittent light. While there have been electroencephalographic studies of similar hallucinatory forms, brain activity accompanying the appearance of hallucinatory colors was never measured. Using a priming procedure where observers were required to indicate the presence (...) of one of eight target colors we compared electrophysiological correlates of hallucinatory color with brain states associated with other visual phenomena. Different target colors were accompanied by different patterns of EEG activation. However, in general, we found that the appearance of hallucinatory colors is preceded by a power decrease in the lower alpha band alongside an increase in gamma band frequencies. We argue that decreasing activity in the lower alpha band acts as a gating mechanism, inducing a switch in perception between different colors. The increasing gamma activation may correlate with the formation of a coherent conscious percept. (shrink)