Persia’s Imperial Power in Late Antiquity: The Great Wall of Gorgān and Frontier Landscapes of Sasanian Iran. By Eberhard W. Sauer; Hamid Omrani Rekavandi; Tony J. Wilkinson; and Jebrael Nokandeh. British Institute of Persian Studies Archaeological Monographs. Oxford: Oxbow Books, 2013. Pp. xvi + 711, illus. $150. [Distributed by the David Brown Book Co., Oakville, CT.].

Aesthetics versus Art History? Ernst Cassirer as Mediator in an ongoing Controversy on the Relevance of Art for Life. Against the background of Ernst Cassirer’s cultural philosophy, art studies are to be classified as cultural studies. Central to this is Cassirer’s philosophy as the basis for answering a question that has been posed by the methods of formal aesthetics and iconology since the 19th century but is still unanswered today, namely the question of the relevance of the arts for life. (...) In this way, aesthetics/Kunstwissenschaft and art history gain a new meaning as cultural studies beyond their achievements in the humanities and in epistemology. (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)

Do we communicate with pictures? If so, the text asks, what about their complex, dynamic appearances? Are they part of the communication process? By analysing a cover image of the journal Jugend from 1896 and by consulting the research on the logic of pictures (“Eigenlogik”) in Bildwissenschaft, Iconology and Cultural Anthropology these questions shall be persued. The analysis suggests, that instead of consenting the results of epistemological aesthetic research a new understanding of pictures shall be implemented: They can be considered (...) as parts of cultural semiotic processes. That means, it is not the view of something (epistemology) but the view of someone (culture) that is shown by the pictures. - I - -/- Kommunizieren wir über Bilder? Falls das zutrifft, stellt sich die Frage, ob daran auch deren komplexe dynamische Erscheinungsweise Anteil hat? Über die Analyse eines Titelblatts der Zeitschrift Jugend von 1896 und die Betrachtung der Forschungen zur Eigenlogik von Bildern in Bildwissenschaft, Ikonologie und Kultureller Anthropologie soll diesen Fragen nachgegangen werden. Die Auswertung veranlasst, sich von der klassischen, erkenntnisorientierten, ästhetischen Theorie zu distanzieren und sie als kulturtheoretische, semiotische Theorie neu zu fassen. Die Neuausrichtung wird im Verständnis des Gehalts der Bilder im medialen Transfer greifbar: Statt in einer Ansicht von etwas (Erkenntniswert), so eröffnet sich, liegt er in einer Ansicht über etwas (Meinung/Kulturwert). (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (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)

We outline a framework for analyzing episodes from the history of science in which the application of mathematics plays a constitutive role in the conceptual development of empirical sciences. Our starting point is the inferential conception of the application of mathematics, recently advanced by Bueno and Colyvan. We identify and discuss some systematic problems of this approach. We propose refinements of the inferential conception based on theoretical considerations and on the basis of a historical case study. We demonstrate the usefulness (...) of the refined, dynamical inferential conception using the well-researched example of the genesis of general relativity. Specifically, we look at the collaboration of the physicist Einstein and the mathematician Grossmann in the years 1912--1913, which resulted in the jointly published ``Outline of a Generalized Theory of Relativity and a Theory of Gravitation,'' a precursor theory of the final theory of general relativity. In this episode, an independently developed mathematical theory, the theory of differential invariants and the absolute differential calculus, was applied in the process of physical theorizing aiming at finding a relativistic theory of gravitation. We argue that the dynamical inferential conception not only provides a natural framework to describe and analyze this episode, but it also generates new questions and insights. We comment on the mathematical tradition on which Grossmann drew, and on his own contributions to mathematical theorizing. We argue that the dynamical inferential conception allows us to identify both the role of heuristics and of mathematical resources as well as the systematic role of problems and mistakes in the reconstruction of episodes of conceptual innovation and theory change. (shrink)

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)

Vorbemerkungen: Die Exponenten der spekulativen Ästhetik in der Mitte des 19. Jahrhunderts vertreten die Ansicht, dass eine Begegnung mit den verschiedenen Gegenstandsbereichen der Welt und unsere Einordnung in diese Weltbezüge nur gelingen kann, wenn nicht alles rein zufällig und verschieden ist, sondern vielmehr in einer alles übergreifenden Einheit zusammengehört und einer höheren Idee folgt. […] [Denn] das Schöne steht für den höheren Sinn von allem, was ist und geschieht. In Übereinstimmung mit diesem Grundsatz, jedoch auf völlig anderen Grundlagen, kommen zu (...) jener Zeit Vorstellungen auf, in denen es um den konkreten Nachweis des Schönen, Wahren und Guten in allem geht und damit darum, den betreffenden Wert der Dinge aus ihnen selbst abzuleiten. Es sind die Vertreter der Formwissenschaft, die im Sinne einer exakten Wissenschaft danach streben, diesen Nachweis des Wertes eines jeden (und von allem) aus dem Gegebenen selbst zu erschließen. […]. (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)

In dieser Untersuchung wird die Instandhaltung technischer Artefakte, neben deren Schaffung und Nutzung die dritte grundlegende Form technischen Handelns, als Teilthema der Technikphilosophie systematisch und umfassend analysiert. Nur durch Instandhaltung können die unermeßlichen und vielfältigen mittels technischer Verfahren erzeugten Werte vor vorzeitigem Verfall und Untergang bewahrt werden. Die Studie erschließt Instandhaltung in phänomenologischer (Grundlagen) und normativer Hinsicht (Instandhaltung und Gesellschaft). Die auf Unumkehrbarkeit des Handelns und ganz allgemein des Geschehens gegründete Endlichkeit seiner Dauer bindet das individuelle technische Artefakt als wesentliches (...) Element in den Verlauf der Allgemein-, Technik-, Kultur-, Wirtschafts- und Sozialgeschichte ein. (shrink)

La obra de Sauer abre paso a la formación del saber ambiental de nuestro tiempo y contribuye a su desarrollo en América Latina. El artículo sigue una serie de temas profundizados por el autor, y concluye recordándonos que el aterrador impacto del moderno mundo Occidental, no cancela la verdad de que el la historia del hombre ha sido marcadamente pluralista, y que no existen leyes generales de la sociedad, sino únicamente acuerdos culturales.

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)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

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)

A trusted guide into the inner realm where our spirits find strength to master life and live for God. It is hard to exaggerate the significance of Innerland, either for Eberhard Arnold or his readers. It absorbed his energies off and on for most of his adult life--from World War I, when he published the first chapter under the title War: A Call to Inwardness, to 1935, the last year of his life. Packed in metal boxes and buried at (...) night for safekeeping from the Nazis, who raided the author_s study a year before his death (and again a year after it), Innerland was not openly critical of Hitler_s regime. Nevertheless, it attacked the spirits that animated German society: its murderous strains of racism and bigotry, its heady nationalistic fervor, its mindless mass hysteria, and its vulgar materialism. In this sense Innerland stands as starkly opposed to the zeitgeist of our own day as to that of the author_s. At a glance, the focus of Innerland seems to be the cultivation of the spiritual life as an end in itself. Nothing could be more misleading. In fact, to Eberhard Arnold the very thought of encouraging the sort of selfish solitude whereby people seek their own private peace by shutting out the noise and rush of public life around them is anathema. He writes in The Inner Life:_These are times of distress. We cannot retreat, willfully blind to the overwhelming urgency of the tasks pressing on society. We cannot look for inner detachment in an inner and outer isolation...The only justification for withdrawing into the inner self to escape today's confusing, hectic whirl would be that fruitfulness is enriched by it. It is a question of gaining within, through unity with eternal powers, a strength of character ready to be tested in the stream of the world._ Innerland, then, calls us not to passivity, but to action. It invites us to discover the abundance of a life lived for God. It opens our eyes to the possibilities of that _inner land of the invisible where our spirit can find the roots of its strength and thus enable us to press on to the mastery of life we are called to by God._ Only there, says Eberhard Arnold, can our life be placed under the illuminating light of the eternal and seen for what it is. Only there will we find the clarity of vision we need to win the daily battle that is life, and the inner anchor without which we will lose our moorings. (shrink)