This article suggests a ‘best alternative' justification of induction (in the sense of Reichenbach) which is based on meta-induction . The meta-inductivist applies the principle of induction to all competing prediction methods which are accessible to her. It is demonstrated, and illustrated by computer simulations, that there exist meta-inductivistic prediction strategies whose success is approximately optimal among all accessible prediction methods in arbitrary possible worlds, and which dominate the success of every noninductive prediction strategy. The proposed justification of meta-induction is (...) mathematically analytical. It implies, however, an a posteriori justification of object-induction based on the experiences in our world. *Received November 2005; revised March 2008. †To contact the author, please write to: Department of Philosophy, University of Duesseldorf, Universitaetsstrasse 1, Geb. 23.21, Duesseldorf, Germany D-40225; e-mail: [email protected]. (shrink)

Introduction and Overview Content Type Journal Article Category Introduction Pages 151-163 DOI 10.1007/s10670-011-9288-9 Authors Theo Kuipers, Faculty of Philosophy, University of Groningen, Groningen, The Netherlands Gerhard Schurz, Department of Philosophy, University of Duesseldorf, Universitaetsstrasse 1, Geb. 23.21, 40225 Duesseldorf, Germany Journal Erkenntnis Online ISSN 1572-8420 Print ISSN 0165-0106 Journal Volume Volume 75 Journal Issue Volume 75, Number 2.

In lieu of an abstract, here is a brief excerpt of the content:ImagesDiana Cooper lives and works in New York City. She received her BA from Harvard College and MFA from Hunter College, and has been the recipient of a Rome Prize (2003–04), a Guggenheim Foundation Fellowship (2000), and a New York Foundation for the Arts Fellowship (2000).Cooper has exhibited extensively both in the United States and abroad. She has had solo shows at Postmasters Gallery in New York City; the (...) Drawing Room and Hales Gallery in London; Chapter in Cardiff; Staubkohler Galerie in Zürich; Carl Berg Gallery in Los Angeles; and Numark Gallery in Washington DC. She has participated in numerous group shows at venues such as the Whitney Museum of American Art at Altria; the Brooklyn Museum; the Contemporary Art Center, Cincinnati; the Kunstmuseum, St. Gallen; the Sharjah Museum of Art, UAE; the Tang Museum in Saratoga Springs; and PS 1 Contemporary Art Center in Long Island City.In 2007 the Museum of Contemporary Art in Cleveland will devote a major exhibition to her work.Please contact Postmasters Gallery for further [email protected] www.postmastersart.com Click for larger view View full resolutionFigure 1 Diana Cooper Speedway (front) (2002). Click for larger view View full resolutionFigure 2 Diana Cooper Speedway (back) (2002). Click for larger view View full resolutionFigure 3 Diana Cooper And I Couldn’t Find You (1998). Click for larger view View full resolutionFigure 4 Diana Cooper And I Couldn’t Find You (1998). Click for larger view View full resolutionFigure 5 Diana Cooper Emerger (detail) (2005–06). Click for larger view View full resolutionFigure 6 Diana Cooper My Eye Travels (2001–2004). Click for larger view View full resolutionFigure 7 Diana Cooper Push Gently (2002). Click for larger view View full resolutionFigure 8 Diana Cooper Swarm (2003–05). Click for larger view View full resolutionFigure 9 Diana Cooper The Black One (1997). Click for larger view View full resolutionFigure 10 Diana Cooper Mechanical Cloud (2004–05). Click for larger view View full resolutionFigure 11 Diana Cooper Moving Targets (2003).Copyright © 2005 The Johns Hopkins University Press... (shrink)

Streets have always drawn the attention of photographers. As both defining features of urban landscapes and places for all varieties of chance encounter, they offer a nearly endless combination of static and moving elements that are the stuff of stunning photography--as the photographers in Road Atlas show brilliantly. From classic New York City street scenes by Helen Levitt to the works of the more contemporary street photographers, including, among others, Philip-Lorca diCorcia, Beat Streuli, and Pieter Hugo, Road Atlas presents a (...) survey of the very best of street photography. Captured here is the everyday bustle of streets, sidewalks, and alleyways from Tokyo to São Paulo and beyond, offering tantalizing glimpses of buildings and their inhabitants, people immersed in their daily activities--shedding light, in the process, on poverty and prosperity, stagnation and vanishing urban spaces, and sometimes even of radical change. Through the practiced eyes of the twenty-eight artists showcased here, streets are threads linking cities and bringing people together yet also tokens of the distances that separate them and consign them to solitude. With more than 100 photographs from the renowned DZ Bank art collection in Frankfurt, Road Atlas captures both the oft-overlooked moments of everyday life and the distinctive character of cities worldwide. It accompanies an exhibition that will also be shown at the Opelvillen Rüsselsheim and the Kunstmuseum Dieselkraftwerk Cottbus. (shrink)

The Swiss photographer and filmmaker Rudolph Burckhardt came to New York City in 1935 and experienced the awe that many first-time visitors to the city share. The grandeur, the energy, the vitality, the sheer movement of this American metropolis all drew Burckhardt in, and he made New York his home for the rest of his life. Equally inflecting his career as a photographer and filmmaker, the city and its vibrant cultural life became Burckhardt's muse. Rudy Burckhardt—New York Moments is a (...) rare collection of his photographs from the 1940s and 1950s. It includes not only street scenes and details of city life—“The tremendous difference in scale between the soaring buildings and the people in the street astonished me,” he wrote—but also the portraits he made of the New York School painters, most notably Jackson Pollock, Mark Rothko, and Willem de Kooning. As a photographer for ArtNews in the 1950s, Burckhardt had an insider’s view of the burgeoning art scene. But he also recognized the limits of photography—“a photograph, when it gets printed and comes out a picture, becomes like a fact, you know”—and turned his hand to filmmaking. For the rest of his career, photography and film would work together to capture his unique vision. Including photographs, film stills, and interpretive essays, Rudy Burckhardt accompanies an exhibition of Burckhardt's work at the Kunstmuseum Basel in Basel, Switzerland, and is a fitting tribute to the Swiss photographer who most poignantly captured the energy of mid-century New York. (shrink)

Dieter Birnbacher is professor of philosophy at the University of Düsseldorf and a member of the Foundation for the Rights of Future Generations’ scientific board. In 1988 he published the book Verantwortung für zukünftige Generationen ; which was translated into French and Polish. Hanna Schudy is an ethicist and environmentalist interested in questions of intergenerational responsibility concerning the natural environment. She is a doctoral student at the University of Wroclaw and a DAAD scholarship holder. The interview was conducted in (...) December 2011 at the Heinrich Heine Universität; Duesseldorf. It is part of Ms. Schudy’s current research into “The principle of responsibility in Hans Jonas’ and Dieter Birnbacher’s environmental ethics”. (shrink)

Summary: Ted Partin widmet sich in eindringlichen Fotoarbeiten dem Bild des Menschen, einem der grossen emotionalen Kernthemen der Fotografiegeschichte. Erstmals wird Partins Blick auf eine junge amerikanische Gesellschaft in einer Monographie vorgelegt. Exhibition: Kunstmuseum Krefeld.