Art has the power to affect our thinking, changing not only the way we view and interact with the world but also how we create it. In Art in Mind , Ernst van Alphen probes this idea of art as a commanding force with the capacity to shape our intellect and intervene in our lives. Rather than interpreting art as merely a reflection of our social experience or a product of history, van Alphen here argues that art (...) is a historical agent, or a cultural creator, that propels thought and experience forward. Examining a broad range of works, van Alphen—a renowned art historian and cultural theorist—demonstrates how art serves a socially constructive function by actually experimenting with the parameters of thought. Employing work from artists as diverse as Picasso, Watteau, Francis Bacon, Marlene Dumas, and Matthew Barney, he shows how art confronts its viewers with the "pain points" of cultural experience-genocide, sexuality, diaspora, and transcultural identity-and thereby transforms the ways in which human existence is conceived. Van Alphen analyzes how art visually "thinks" about these difficult cultural issues, tapping into an understudied interpretation of art as the realm where ideas and values are actively created, given form, and mobilized. In this way, van Alphen's book is a work of art in itself as it educates us in a new mode of thought that will forge equally new approaches and responses to the world. (shrink)

The essays in this volume demonstrate how the performance of sincerity is culturally specific and is enacted in different ways in different media and disciplines, including law and the arts.

"Staging the archive: art and photography in the age of new media is dedicated to art practices that mobilize the model of the archive, demonstrating the ways in which such archival artworks probe the possibilities of what art is and what it can do. Through a variety of media, methodologies and perspectives, the artists surveyed here also challenge the principles on which the notions of organization, evidence and documentation are built. The book shows how artists have, over recent decades, read (...) the concept of the archive against the grain, questionning not only what the archive is and can be but what materials, images or ideas can be archived. Ernst van Alphen explores the work of artists such as Marcel Duchamp, Marcel Broodthaers, Christian Boltanski, Fiona Tan, and Sophie Calle, writers including Georges Perec and film-makers such as Alain Resnais and Péter Forgács. Staging the Archive reveals how modern and contemporary artists have used and contested the notion of the archive to establish new relationships to history, information, data. (shrink)

Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means (...) of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed. (shrink)

The notion of the archive covers two kinds of knowledge: knowledge and memories that can be articulated and objectified by convergent discursive rules, and knowledge that remains overlooked because of the same discursive rules, now working as rules of exclusion. Many contemporary art practices foreground these exclusions from the archive by presenting them as yet another archive. Artists highlight this residue of the archive by collecting images that were until then not considered to be archivable, that is, of any value (...) or importance. In this article I will discuss work of Santu Mofokeng, Akram Zataari, Walid Raad, and Darius Jablonski as examples of such archival artistic practices. (shrink)

A shift towards more environmentally friendly and socially responsible food systems is a key step in the achievement of global sustainable development goals. To obtain significant results, however, it is essential to find participative ways to frame food sustainability objectives, so they can speak to a wide array of actors of change. This article addresses the promising potential of empowering actors across the food system to make a shift in their food choices, by facilitating the association of food sustainability values (...) with contemporary moral issues. In this context, a conceptual framework for a transition towards food sustainability is proposed, based upon the concept of the moral circle. This approach transcends the human-centred methods enacted in traditional sustainable development agendas, offering an alternative with a more holistic perspective. It is expected that emphasising moral reflection around sustainability might encourage societal participation in the creation of sustainable, fair and healthier food systems. (shrink)

A shift towards more environmentally friendly and socially responsible food systems is a key step in the achievement of global sustainable development goals. To obtain significant results, however, it is essential to find participative ways to frame food sustainability objectives, so they can speak to a wide array of actors of change. This article addresses the promising potential of empowering actors across the food system to make a shift in their food choices, by facilitating the association of food sustainability values (...) with contemporary moral issues. In this context, a conceptual framework for a transition towards food sustainability is proposed, based upon the concept of the moral circle. This approach transcends the human-centred methods enacted in traditional sustainable development agendas, offering an alternative with a more holistic perspective. It is expected that emphasising moral reflection around sustainability might encourage societal participation in the creation of sustainable, fair and healthier food systems. (shrink)

Approximately three decades ago the question was first answered whether parasitoids are able to assess the number or origin of eggs in a host for a solitary parasitoid, Leptopilina heterotoma, by fitting theoretically derived distributions to empirical ones. We extend the set of different theoretically postulated distributions of eggs among hosts by combining searching modes and abilities in assessing host quality. In the models, parasitoids search either randomly (Poisson) (1) or by vibrotaxis (Negative Binomial) (2). Parasitoids are: (a) assumed to (...) treat all hosts equally, (b) able to distinguish them in unparasitised and parasitised hosts only, (c) able to distinguish them by the number of eggs they contained, or (d) able to recognise their own eggs. Mathematically tractable combinations of searching mode (1 and 2) and abilities (a,b,c,d) result in seven different models (M1a, M1b, M1c, M1d, M2a, M2b and M2c). These models have been simulated for a varying number of searching parasitoids and various mean numbers of eggs per host. Each resulting distribution is fitted to all theoretical models. The model with the minimum Akaike's information criterion (AIC) is chosen as the best fitting for each simulated distribution. We thus investigate the power of the AIC and for each distribution with a specified mean number of eggs per host we derive a frequency distribution for classification.Firstly, we discuss the simulations of models including random search (M1a, M1b, M1c and M1d). For M1a, M1c and M1d the simulated distributions are correctly classified in at least 70% of all cases. However, in a few cases model M1b is only properly classified for intermediate mean values of eggs per host. The models including vibrotaxis as searching behaviour (M2a, M2b and M2c) cannot be distinguished from those with random search if the mean number of eggs per host is low. Among the models incorporating vibrotaxis the three abilities are detected analogously as in models with random search. (shrink)

There is an increasing body of literature proposing to include animal welfare in the United Nations Sustainable Development Agenda. The main argument is the potential positive effect that improving the welfare of animals could have over the health and welfare of humans. However, recent literature suggests that the welfare interests of animals should also be considered. Based on these premises, an analysis of the practical implications of including animal welfare in the United Nations Sustainable Development Goals is granted. The aim (...) of this study is to address this by applying the case of animals in the agriculture and aquaculture systems. Animal farming inherently affects the welfare of a substantial number of sentient animals while, the welfare of farmed animals has been connected to human wellbeing and several environmental issues. The study highlights the feasibility of incorporating the welfare of farmed animals into a future version of the SDGs. It does so by developing a model based on a set of human-focused (anthropocentric) and animal-focused (sentientistic) targets for each of the 17 goals. It has been argued that expanding the scope of the SDGs from anthropocentrism to sentientism creates a synergy between human and animal welfare and, on top of that, is progress towards sustainability. (shrink)

NG van Kampen is a well-known theoretical physicist who has had a long and distinguished career. His research covers scattering theory, plasma physics, statistical mechanics, and various mathematical aspects of physics. In addition to his scientific work, he has written a number of papers about more general aspects of science. An indefatigable fighter for intellectual honesty and clarity, he has pointed out repeatedly that the fundamental ideas of physics have been needlessly obscured. As those papers appeared in various journals, partly (...) in Dutch, it was felt that it would be worthwhile to collect them (translating the Dutch material into English) and make them available to a larger audience. This is a book of major importance to scientists and university teachers. (shrink)

Correspondentie van de Duitse filosoof en essayist (1885-1977) met vele andere filosofen en kunstenaars.

Dans une lettre du 25 octobre 1971 à Werner Hofmann, l’interrogeant sur la proximité de sa pensée avec celle du philosophe Ernst Cassirer, Claude Lévi-Strauss se justifie ainsi : « J’ai très peu fréquenté l’œuvre de Cassirer et je ne crois donc pas avoir été influencé par elle. Mais il y a deux ans environ, j’ai pris connaissance d’un article de lui, publié en français dans le Journal de Psychologie,...

In lieu of an abstract, here is a brief excerpt of the content:Literature, Imagination, and Human RightsWillie van Peer“the poet’s function is to describe, not the thing that has happened, but a kind of thing that might happen”Aristotle: Poetics, 1451aAristotle’s dictum has been of vital importance to the development of literary theory, and its significance can still be felt today. It is the foundation of the distinction we make between journalism and literature, between history and fiction. Literature, Aristotle proposes, is (...) about things that could happen, not about things that have taken place in reality. Literature is thus inscribed in the realm of the imagination. However, imagination does not operate in an epistemological vacuum. A fictional text entertaining no relation with the world would have no meaning. Perhaps giants, dragons and witches do not really exist, and perhaps it is not really possible to cover seven miles with each step of those wonderful boots that Tom Thumb discovered. But we have no difficulty in imagining those things, precisely because they entertain an intimate relationship with forms and things, events and actions that happen in daily life. The details of the relationship between reality and fiction are less important for the present argument than the fact that fiction is embedded in our pragmatic attitudes. 1 Ernst Bloch has given this human tendency a name: The Hope Principle. Our desire for a better world expresses itself in hope, a distinctive feature of the species Homo Sapiens. The importance of the imagination in the project of humanity has received eloquent and systematic treatment in the philosophical work of Hans Vaihinger and Helmuth Plessner. 2 Imagination also gives impetus to history, because it drives us toward the realization of aims and plans that initially lived only in our hearts and minds: “Someone dreaming never remains in the same place.” 3 [End Page 276]Similar things have been asserted about literature, by Horace, Sidney, Matthew Arnold, and others. Reading is supposed to make us better humans, heightening our awareness, increasing our sensibility, and thus indirectly guiding our actions toward the establishment of a better world. Sometimes noble motives are associated with this function. Reading literature, it is then assumed, makes the reader more socially tolerant, more perceptive about other humans, and more politically conscious. This is the so-called Edification Hypothesis. Anthony Savile sums up this view when he submits the thesis that literature has a unique power to make us understand the thoughts and feelings of other human beings. This ethical perspective on literature has been expressed since Greek Antiquity. 4 It will be remembered that Plato condemned literature precisely for this reason: because it diverts our attention from the real world, itself already an imperfect reflection of Pure Ideas. Aristotle rejects this view and develops a theory squarely opposed to that of his teacher. According to him, literature contributes to the elevation of mankind, to paideia. By showing us that which is possible, and by involving us in the inescapable passage of tragic events, readers and spectators are drawn into emotions of fear and compassion, emotions that lead to katharsis, a process that purifies us of megalomania (hubris), safeguarding democratic government and protecting us from unrestrained tyranny. 5The Aristotelian view that literature has an edifying effect had been generally present in Western tradition till about 1800. Until then literature was viewed almost universally as an ethical category. Consider, for instance, the self-evident way in which Richardson prefaces Pamela: “If to divert and entertain, and at the same time to instruct and improve the minds of the YOUTH of both sexes: If to inculcate religion and morality in so easy and agreeable a manner, as shall render them equally delightful and profitable: If to set forth in the most exemplary lights, the parental, the filial, and the social duties....” 6The embarrassment a modern reader may feel when confronted with such overt claims to morality is largely a product of the nineteenth century, when literature came to be seen as a predominantly aesthetic category, eluding all attempts at moral categorization. This movement has resulted in a liberation of literature from moralism. At the same time, it has created nontrivial difficulties in thinking about ethical and political issues, so... (shrink)

Why are the Germans good at music, whereas the Dutch excel in painting? What are the reasons for the outstanding draftsmanship of Australian Aboriginals, and why does this skill seem absent among West African peoples, who appear concerned rather with sculpture? Could it be that the Japanese do not share the European preference for symmetry in decorative art? Moreover, why do tastes in the visual arts, music, and literature change so noticeably throughout history? Is it possible that, despite differences across (...) time and space, there are features that each of humanity's arts share?These are some of the questions that in the late nineteenth-century were going through the mind of the German scholar Ernst Grosse .. (shrink)

Ernst Mayr argued that the emergence of biology as a special science in the early nineteenth century was possible due to the demise of the mathematical model of science and its insistence on demonstrative knowledge. More recently, John Zammito has claimed that the rise of biology as a special science was due to a distinctive experimental, anti-metaphysical, anti-mathematical, and anti-rationalist strand of thought coming from outside of Germany. In this paper we argue that this narrative neglects the important role (...) played by the mathematical and axiomatic model of science in the emergence of biology as a special science. We show that several major actors involved in the emergence of biology as a science in Germany were working with an axiomatic conception of science that goes back at least to Aristotle and was popular in mid-eighteenth-century German academic circles due to its endorsement by Christian Wolff. More specifically, we show that at least two major contributors to the emergence of biology in Germany—Caspar Friedrich Wolff and Gottfried Reinhold Treviranus—sought to provide a conception of the new science of life that satisfies the criteria of a traditional axiomatic ideal of science. Both C.F. Wolff and Treviranus took over strong commitments to the axiomatic model of science from major philosophers of their time, Christian Wolff and Friedrich Wilhelm Joseph Schelling, respectively. The ideal of biology as an axiomatic science with specific biological fundamental concepts and principles thus played a role in the emergence of biology as a special science. (shrink)

The paper reviews Cassirer's recent reception in France and takes two international meetings in Rennes and Paris as an opportunity to determine current research interests in this area. A striking feature of French concern is the stress on art historical contextualization of Cassirer's thought (Riegl, Wolfflin, Panofsky).

Ernst Fraenkels Neopluralismus zählt zu den 'Klassikern'. Worin zeigt sich seine Anschlussfähigkeit? Antipluralistische Traditionsbestände sind wirkmächtig geblieben. 'Lobbyismus' hat immer noch einen schlechten 'Beigeschmack'. Das Problem von Grundkonsens und Streit stellt sich insbesondere bei politischen Gegnern, die mit 'Freund-Feind-Ideologien' agieren.

This article contributes to contemporary philosophy of technology by carrying out a diffractive reading of Ernst Cassirer’s “Form und Technik” (1930) and Gilbert Simondon’s Du mode d’existence des objets techniques (1958). Both thinkers, who are here brought together for the first time, stood on the brink of the defining bifurcations of twentieth-century philosophy. However, in their endeavor to come to grips with the “being” of technology, Cassirer and Simondon, each in their own way, were prompted to develop an ontology (...) of emergence that gives ontological priority to “technicity,” that is, to technology considered in its efficacy or operative functioning. By reading Cassirer’s and Simondon’s insights through one another, we aim to further develop this ontology of emergence, and, simultaneously, to demonstrate the relevance of these thinkers for present-day theorizing. As we hope to show, the insistence on the ontological force of technological apparatuses transverses received philosophical and ontological divides and revitalizes the notions of “nature” and “the human,” which are now understood as coevolving with technology. (shrink)

The comparison of Ernst Cassirer’s philosophy of symbolic forms and Levi-Strauss’ structural anthropology requires a clarification of their definitions of morphology, transformation and translatability. We will expose the morphological field where Cassirer’s aesthetics emerges in relation to Goethe, who represents an important source for Levi-Strauss as well. Defining the concept of transformation is supposed to follow his modifications of the key ideas of the German poet and biologist, by taking account of the new point of view provided by the (...) theory of groups of transformation which the mathematician Felix Klein developed in the »circle of Erlangen «. Then we will show how Edgar Wind, a brilliant student of Cassirer, invents a kind of morphological aesthetics to provide art history with a methodology, and we will give some examples for the application of the concept of building series of pictures in the field of art history. We will examine the global function of the tables of Aby Warburg’s Atlas Mnemosyne, Erwin Panofsky’s wellknown iconological interpretation of Durer’s Melencolia I and then, by contrast, the creation of a virtual series of masks through an imaginative variation which Levi-Strauss creates to give sense to a particular Ameridian mask found during his investigations. Finally, we will investigate the problems appearing by the definition of transformation as translatability in both Cassirer’s and Levi-Strauss’ semiologies. We will ask for their uses of the model of translation in linguistics to compare different forms of structural homologies. (shrink)