The new series of Ideen&Argumente subscribes to the ideal of a pluralist and open culture of argument and debate and presents well-produced volumes on topics and questions which make substantive or methodologically important contributions to contemporary philosophy. The publications are designed to effect a productive synergy between the Anglo-Saxon and Continental European philosophical traditions. Ideen&Argumente provides a platform for outstanding systematically oriented original editions and German first editions from all areas of Theoretical and Practical Philosophy. A welcome is extended to (...) programmatic monographs from whatever philosophical direction. The aim is to highlight anew the thematic and methodological richness of contemporary philosophy. (shrink)

The paper sees itself as a plea for an irreducibly relationalistic approach to anthropomedial relations in which man and media are always already dynamically linked. Based on the characteristics of the man-cinemarelation, the mode of affection comes to the fore that regulates both the form of existence and the accessibility of anthropomedial relations. In contrast to the common negligence of affects in media studies and philosophy, the investigation of practices and logics of affective meta-mediality could open a new field of (...) study for media philosophy. (shrink)

The paper sees itself as a plea for an irreducibly relationalistic approach to anthropomedial relations in which man and media are always already dynamically linked. Based on the characteristics of the man-cinemarelation, the mode of affection comes to the fore that regulates both the form of existence and the accessibility of anthropomedial relations. In contrast to the common negligence of affects in media studies and philosophy, the investigation of practices and logics of affective meta-mediality could open a new field of (...) study for media philosophy. (shrink)

Usually, humor is not theorized specifically, but identified with the comic and laughter. This paper deals with the internal logic of humorous operations in the context of Freud's writings on humor, in order to make them productive for medial anthropology. Unlike conventional anthropologies, medial anthropology is interested in the ontologizing effects of operations that can be understood in a technical way. Correspondingly, humoresque operations are to be studied anew as techniques of the Dionysian connection of pleasure and reality principle. German (...) Humor wird gemeinhin nicht eigens theoretisiert, sondern umstandslos mit dem Komischen und dem Lachen identifiziert. In diesem Aufsatz geht es darum, die Eigenlogik von humoresken Operationen vor dem Hintergrund von Freuds Auslassungen zum Humor herauszuarbeiten und für eine mediale Anthropologie produktiv zu machen. Im Unterschied zu herkömmlichen Anthropologien interessiert sich eine mediale Anthropologie für die ontologisierenden und wirklichkeitskonstituierenden Effekte technisch zu fassender Operationen. Humoreske Operationen sind entsprechend als Techniken der dionysischen Verschaltung von Lust- und Realitätsprinzip neu zu beleuchten. (shrink)

Humor wird gemeinhin nicht eigens theoretisiert, sondern umstandslos mit dem Komischen und dem Lachen identifiziert. In diesem Aufsatz geht es darum, die Eigenlogik von humoresken Operationen vor dem Hintergrund von Freuds Auslassungen zum Humor herauszuarbeiten und für eine mediale Anthropologie produktiv zu machen. Im Unterschied zu herkömmlichen Anthropologien interessiert sich eine mediale Anthropologie für die ontologisierenden und wirklichkeitskonstituierenden Effekte technisch zu fassender Operationen. Humoreske Operationen sind entsprechend als Techniken der dionysischen Verschaltung von Lust- und Realitätsprinzip neu zu beleuchten. Usually, humor (...) is not theorized specifically, but identified with the comic and laughter. This paper deals with the internal logic of humorous operations in the context of Freud's writings on humor, in order to make them productive for medial anthropology. Unlike conventional anthropologies, medial anthropology is interested in the ontologizing effects of operations that can be understood in a technical way. Correspondingly, humoresque operations are to be studied anew as techniques of the Dionysian connection of pleasure and reality principle. (shrink)

Traditionell wird Einfühlung anthropozentrisch und figurenbezogen behandelt. Demgegenüber arbeitet dieser Text, anknüpfend an die ästhetische Einfühlungstheorie von Theodor Lipps und neuere Bild- und Filmtheorien, eine ästhetische Form dingbezogener Einfühlung heraus. Mit Bezug auf die dramaturgische Funktionsweise sogenannter McGuffins, wie Alfred Hitchcock sie für den Film eingeführt hat, rückt ein ganzes Genre filmischer Dinge exemplarisch ins Zentrum, die die Aufgabe übernehmen, eigenständig filmische Spannung und damit Immersion zu erzeugen. McGuffins treten meist in Form von konkreten Gegenständen wie Koffern oder Behältern auf, (...) die physischen Ortswechseln unterzogen werden und Faszination auf sich ziehen, ohne dafür auf psychologische und personenbezogene Register Bezug nehmen zu müssen. Die Spannung und Zeit antreibende Kraft von McGuffins, welche sich stets als bedeutungsleere Motive am Ende einer Geschichte erweisen, ist eine Funktion ihrer geradezu kontaktmagischen und kausalen Übertragungsmöglichkeiten. McGuffins organisieren narrative Bewegungen diesseits von Sinn und Bedeutung. Der Bezug auf dingbezogene Einfühlung weist in philosophischer Hinsicht auf die Notwendigkeit hin, nicht-semiotische und materielle Formen dramaturgischer Bewegung in ästhetischen und narrativen Theorien begrifflich stärker zu berücksichtigen. Empathy is traditionally treated anthropocentrically and figure-related. In contrast, this text, based on Theodor Lipp’s aesthetic theory of empathy and more recent image and film theories, works out an aesthetic form of thing-related empathy. With reference to the dramaturgical functioning of so-called McGuffins, as Alfred Hitchcock introduced them for film, an entire genre of cinematic things, which take on the task of independently creating cinematic suspense and thus immersion, takes centre stage. McGuffins usually appear in the form of concrete objects such as suitcases or containers which undergo physical changes of location and attract fascination without having to refer to psychological and personal registers. The suspense-and time-driving force of McGuffins, which always prove to be meaningless motifs at the end of a story, is a function of their almost contact-magic and causal transmission possibilities. McGuffins organize narrative movements instead of meaning and significance. In philosophical terms, the reference to material empathy points to the need to take greater account of non-semiotic and material forms of dramaturgical movement in aesthetic and narrative theories. (shrink)

"Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Verhältnis gesetzt. The rejection of mimesis, understood as a depiction’s claim on imitation of nature, (...) has been a characteristic feature of modern aesthetics and epistemology since the end of the 19th century. At the same time, there are also dispositives, such as habitat dioramas, which creatively maintain the traditionally mimetic ideal in the space of knowledge-building institutions such as museums of natural science. These supposedly anachronistic dispositions are reflected in media-philosophical terms with regard to their dimensions of mimesis production and are related to Adorno’s understanding of mimesis. ". (shrink)

Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Verhältnis gesetzt.

This text is about Martin Seel’s philosophical experiment on »not wanting to be right« in the light of concepts of the neutral, as found in French philosophy (Nancy, Blanchot). In the »neither-nor« and »both-as-well« positionings neutralize themselves undialectically. In relation to this, the relationship between art and philosophy can be systematically redefined. According to the thesis of this essay, both fields gain their comparability, difference, and specific contour through their complementary relationship to the neutral.

In diesem Beitrag wird für eine Theorie der ästhetischen Erfahrung des Films argumentiert, in der die spezifisch aisthetischen und phänomenologischen Dimensionen einen auch normativen Status für das Filmästhetische zugeschrieben bekommen. Der Begriff des ‚Leihkörpers‘ wird zu diesem Zweck eingeführt und hinsichtlich seines epistemischen Charakters als eine Form von implizitem Wissen ausgewiesen.

Can anything be reclaimed from the self-denigrating rhetoric of medieval women in the Christian tradition? This article investigates how feminists might retrieve the Christian virtue of humility by journeying through nine of its functions in the work of the thirteenth-century German beguine, Mechthild of Magdeburg. As a rhetorical strategy, authorizing tactic, and tool of moral formation, Mechthild's `sinking humility' retains a surprising relevance for feminist women and men today.

A selection of writings by the fifteenth-century philosopher and magus Marsilio Ficino, on the subject of astrology and natural magic. The editor's introduction provides a substantial historical and philosophical context for this figure and explains Ficino's astrology in relation to his Christian Platonic convictions"--Provided by publisher.

CHAPTER Meta-View BRIDGES When I was a child, I lived in an area renowned for its many wooden covered bridges. Sometimes my family would take a Sunday drive ...

Descartes's epistemology, morals, and metaphysics – each offer reason to look on real life as a spectator looks on a theater production. The meditator seeking certainty watches his body move as in a dream and employs an entirely passive faculty of knowledge. In order to act firmly and yet not risk disappointment, the moral subject confines action to the soul, refusing to count bodily activities as actions, and cultivates a desire free from passion. After the Meditations, the metaphysician abandons the (...) thesis that soul and body constitute a human being, consequently limiting human goods to goods of the soul alone and devaluing embodied life in the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 371-397 [Access article in PDF] How the "New Science" of Cannons Shook up the Aristotelian Cosmos Mary J. Henninger-Voss [Figures]Approximately halfway through the "Second Day" of Galileo's Dialogue Concerning the Two Chief World Systems Galileo's mouthpiece, the mathematician Salviati, scoffs at his Aristotelian colleague Simplicio: "I see that you have hitherto been of that herd who, in order to learn (...) how matters such as this [motion] take place, and in order to acquire a knowledge of natural effects, do not betake themselves to ships or crossbows or cannons, but retire to their studies... to see whether Aristotle has said anything about them."1 Silly, simple Simplicio! He has been searching for natural philosophical wisdom in the books of natural philosophers rather than in the world of docks and arsenals. Indeed this quotation appears near the outset of Day Two wherein Salviati offers cannonshot as proof for the opposing Aristotelian position that the experience of projectiles proves the motionless state of the earth. Obviously, if the earth rotates toward the east, cannonballs shot point-blank to the west ought to travel much further than to the east. And clearly this is not so. Simplicio agrees that the new arguments offered by the cannon are excellent, "and now I see with how many elegant experiments nature graciously wishes to aid us in coming to the recognition of the truth," Simplicio enthusiastically enjoins. "What a shame there were no cannons in Aristotle's time!" exclaims the third interlocutor, Sagredo. "With them he would indeed have battered down ignorance, and spoken without [End Page 371] [Begin Page 373] the least hesitation concerning the universe."2 The irony here is not only that Aristotle might have used cannons in order to explain the workings of the universe but also that Galileo does so in the following pages. His demonstrations with reference to artillery demolish the Aristotelian position, but he has had Simplicio open the door for him by recognizing this most violent of artifices as an elegant experiment provided by nature.3The cannon provides a primary referent for Galileo's new mathematical physics of motion from his very first dialogue to his very last. The early De Motu culminated in a series of questions about the shot of cannons, while the conversation in his final masterwork, Discourses Concerning Two New Sciences, was set in the Venetian arsenal, and to it Galileo appended a table of the parabolic paths that could be expected from cannons shot at various elevations.4 In some sense Galileo turned inside-out a much older problem, one that had haunted military engineers of sixteenth-century Italy—and Galileo had been trained, and trained others, in military engineering.5 State organizers of war and captain generals were less interested in the implications the arts of fortifications and artillery held for the existing science of natural motion than in the necessity to reduce to a science, that is, a coherent body of knowledge, the rules for manufacturing cannons, planting artillery battery, aiming guns, and fortifying camps, cities, and castles.What Galileo gives us is recognizable as early physics, as a sophisticated mechanical science, a neat triumph of mathematical method in natural philosophy. But the ways and means by which mathematics came together with natural philosophy to address problems of both technology and nature are by no means neat. My claim is that attention to the military sphere will help us sort out some of those ways and means. The curious thing about the historiography on the relationship between early modern science and warfare is that the fact of a connection seems to have been taken for granted, while the implications have seldom been investigated.6 This essay is an attempt to trace those implications by [End Page 373] looking at a mathematician who specifically tried to reduce to a mathematical science the military arts, Niccolò Tartaglia.7 Tartaglia's story shows how the minutia of Aristotelian philosophy was transmuted in early attempts to understand cannonshot... (shrink)

In this paper, we reflect on the disciplinary contours of contemporary sociology, and social science more generally, in the age of ‘big and broad’ social data. Our aim is to suggest how sociology and social sciences may respond to the challenges and opportunities presented by this ‘data deluge’ in ways that are innovative yet sensitive to the social and ethical life of data and methods. We begin by reviewing relevant contemporary methodological debates and consider how they relate to the emergence (...) of big and broad social data as a product, reflexive artefact and organizational feature of emerging global digital society. We then explore the challenges and opportunities afforded to social science through the widespread adoption of a new generation of distributed, digital technologies and the gathering momentum of the open data movement, grounding our observations in the work of the Collaborative Online Social Media ObServatory project. In conclusion, we argue that these challenges and opportunities motivate a renewed interest in the programme for a ‘public sociology’, characterized by the co-production of social scientific knowledge involving a broad range of actors and publics. (shrink)

We present Activity Analysis as a new method for the quantification of subjective reports of altered states of consciousness with regard to the indicated level of simulated motor activity. Empirical linguistic activity analysis was conducted with dream reports conceived immediately after EEG-controlled periods of hypnagogic hallucinations and REM-sleep in the sleep laboratory. Reports of REM-dreams exhibited a significantly higher level of simulated physical dreamer activity, while hypnagogic hallucinations appear to be experienced mostly from the point of passive observer. This study (...) lays the groundwork for clinical research on the level of simulated activity in pathologically altered states of subjective experience, for example in the REM-dreams of clinically depressed patients, or in intrusions and dreams of patients diagnosed with PTSD. (shrink)

In this essay, Amy Voss Farris and Pratim Sengupta argue that a democratic approach to children's computing education in a science class must focus on the aesthetics of children's experience. In Democracy and Education, Dewey links “democracy” with a distinctive understanding of “experience.” For Dewey, the value of educational experiences lies in “the unity or integrity of experience.” In Art as Experience, Dewey presents aesthetic experience as the fundamental form of human experience that undergirds all other forms of experiences (...) and that can bring together multiple forms of experiences, locating this form of experience in the work of artists. Particularly relevant to the focus of this essay, computational literacy, Dewey calls the process through which a person transforms a material into an expressive medium an aesthetic experience. Farris and Sengupta argue that the kind of experience that is appropriate for a democratic education in the context of children's computational science is essentially aesthetic in nature. Given that aesthetics has received relatively little attention in STEM education research, the authors' purpose here is to highlight the power of Deweyan aesthetic experience in making computational thinking available and attractive to all children, including those who are disinterested in computing, and especially those who are likely to be discounted by virtue of location, gender, or race. (shrink)

Procrastination is a chronic and widespread problem; however, emerging work raises questions regarding the strength of the relationship between self-reported procrastination and behavioral measures of task engagement. This study assessed the internal reliability, concurrent validity, predictive validity, and psychometric properties of 10 self-report procrastination assessments using responses collected from 242 students. Participants’ scores on each self-report instrument were compared to each other using correlations and cluster analysis. Lasso estimation was used to test the self-report scores’ ability to predict two behavioral (...) measures of delay. The self-report instruments exhibited strong internal reliability and moderate levels of concurrent validity. Some self-report measures were predictive of days to study completion. No self-report measures were predictive of deadline action pacing, the pacing style most commonly associated with procrastination. Many of the self-report measures of procrastination exhibited poor fit. These results suggest that researchers should exercise caution in selecting self-report measures and that further study is necessary to determine the factors that drive misalignment between self-reports and behavioral measures of delay. (shrink)

Studies of scientific practice demonstrate that the development of scientific models is an enactive and emergent process. Scientists make meaning through processes such as perspective taking, finding patterns, and following intuitions. In this paper, we focus on how a group of fourth grade learners and their teacher engaged in interpretation in ways that align with core ideas and practices in kinematics and computing. Cycles of measuring and modeling––including computer programming––helped to support classroom interactions that highlighted the interpretive nature of modeling (...) and participation in model construction as a knowledge-building process. We draw on literature from the history and philosophy of science in order to analyze the students’ interpretive actions as forms of epistemic and representational agency, constituting a construct we term disciplined interpretation. We demonstrate how students’ disciplined interpretative moves help to position them as owners of their own design decisions and their rights to interpret the phenomena they were modeling, data collected from those phenomena, and the scientific and computational models themselves. We present four extended episodes that characterize the nature of activity in the classroom and the development of students’ disciplined interpretations in terms of learning to recognize scientific patterns amid complex perceptual fields, and to represent them in ways that support sensemaking. (shrink)

Decision-making under normative uncertainty requires an agent to aggregate the assessments of options given by rival normative theories into a single assessment that tells her what to do in light of her uncertainty. But what if the assessments of rival theories differ not just in their content but in their structure -- e.g., some are merely ordinal while others are cardinal? This paper describes and evaluates three general approaches to this "problem of structural diversity": structural enrichment, structural depletion, and multi-stage (...) aggregation. All three approaches have notable drawbacks, but I tentatively defend multi-stage aggregation as least bad of the three. (shrink)

Kants Musikästhetik wird weithin unterschätzt. Dabei bietet sie die entscheidenden Ansätze zur Befreiung der Musik aus den Fängen der Nachahmungsästhetik, wie sie vor allem E.T.A.Hoffman kongenial umgesetzt hat.