In this collection of essays, the first translation into English of the ground-breaking 'Normativität und Macht' (Suhrkamp 2015), Rainer Forst presents a new approach to critical theory. Each essay reflects on the basic principles that guide our normative thinking. Forst's argument goes beyond 'ideal' and 'realist' theories and shows how closely the concepts of normativity and power are interrelated, and how power rests on the capacity to influence, determine, and possibly restrict the space of justifications for others. By combining (...) insights from the disciplines of philosophy, history, and the social sciences, Forst revaluates theories of justice, as well as of power, and provides the tools for a critical theory of relations of justification. Translated from German. (shrink)

The model function for induction of Goodmans's composite predicate "Grue" was examined by analysis. Two subpredicates were found, each containing two further predicates which are mutually exclusive (green and blue, observed before and after t). The rules for the inductive processing of composite predicates were studied with the more familiar predicate "blellow" (blue and yellow) for violets and primroses. The following rules for induction were violated by processing "grue": From two subpredicates only one (blue after t) appears in the conclusion. (...) As a statement about a future and unobserved condition this subpredicate, however, is not projectible for induction whereas the only suitable predicate (green before t) does not show up in the conclusion. In a disjunction "a v b" where "a" is true and "b" false the disjunction is true. When, however, the only true component is dropped, what remains is necessarily false. An analogous mistake may be observed in the processing of "grue", where the only true component (green) was dropped in the conclusion. - As a potent criterion for correct inductions a check of the necessity of the conclusions is recommended. (shrink)

ABSTRACT. This chapter presents a reconstruction of Wilhelm Wundt's (1896) three-dimensional theory of emotion from the perspective of the structuralist approach to scientific theories. Wundt's theory, a quantitative theory of the structure of emotional experience, is reconstructed as a small theory-net consisting of the basic theory-element TE(WUNDT) and specializations of this element. The main substantive axiom of TE(WUNDT) postulates that human emotions result from the fusion of a characteristic 'mixture' of six basic forms of feeling: Pleasure, displeasure, excitement, inhibition (tranquillization), (...) tension, and relaxation. A second axiom holds that the basic feeling types are organized into three bipolar dimensions, and the third axiom claims that the basic feelings experienced toward complex objects are a fusion of the corresponding basic feelings directed at the components of the complex objects. Specializations of the theory result from different possible specifications of the central fusion axiom. It appears that only one concept of the theory is T-theoretical, namely the function q which assigns characteristic proportions of basic feelings to the nonbasic emotions. The intended applications of the theory are discussed, and the reconstruction is appraised. (shrink)

Die Unterscheidung von Körper und Seele war wohl einer der bedeutendsten Einschnitte in der Geschichte der Ideen. Wie sich dies in Abhängigkeit von den sozialen Strukturen entwickelte, wird hier für verschiedene Kulturen (u. a. "primitive" Gesellschaften, Alter Orient, Indien, die klassische Antike, Christentum) gezeigt. In vielen "einfachen" Gesellschaften ohne ausgeprägtes Zentrum werden dem Menschen mehrere Seelen zugeschrieben, die auf verschiedene Weise entstehen und beim Tod an verschiedene Orte gehen. In seinen Seelenreisen handelt der Schamane z. B. für die Jagd den (...) Seelentausch zwischen Mensch und Tier aus und holt die Seelen der Kinder aus dem Jenseits. Die Hochkulturen schreiben dem Menschen oft nur eine Seele zu, die das ihn steuernde Zentrum bildet. Sie wird -- entsprechend der Schichtung der Gesellschaft -- als hierarchisch geordnetes System begriffen -- mit der Vernunft oben, den Emotionen und Trieben unten. Die Seelenreise wird vorrangig für die nachtodliche Vergeltung genutzt. Strafe und Belohnung sind affirmativ auf die soziale Schichtung bezogen (z. B. im vedischen Reinkarnationsglauben) oder ein Protest dagegen (im frühen Christentum). Wenn sich dies in Weltablehnung manifestiert, gerät die Seele in Gegensatz zum Körper, der u. U. sogar aus der Definition des Menschen ausgeschlossen wird. Zeugung, Embryonalentwicklung und Geburt werden nun nicht selten als schwierige, ja sogar gewaltsame Zusammenfügung gegensätzlicher Bestandteile verstanden. Unter dieser Fragestellung werden die Theorien zur Entstehung der Seele in Schöpfung und Zeugung in ihren Widersprüchen zwischen religiösem Dogma und philosophischer Logik dargestellt."-- Back cover. (shrink)

Ernst Blochs frühes Hauptwerk ist dem schwierigen Verhältnis von offener materialistischer Philosophie und geschlossenem Systemansatz gewidmet und ringt dabei mit der idealistischen Metaphysik ebenso wie mit der Existenzphilosophie. Der vorliegende Band erschließt Das Prinzip Hoffnung auf dem neuesten Stand der Debatte und macht seine ungebrochene Aktualität für ein breites akademisches Publikum zugänglich.

Von stoischem Verhalten spricht man, wenn ein Mensch sich nicht durch seine Lebensumstände oder durch Schicksalsschläge aus dem Gleichgewicht bringen lässt. Die Philosophenschule der Stoa wurde von Zenon etwa um das Jahr 310 in Athen gegründet. Die ethische Hauptforderung heißt: in Übereinstimmung mit der menschlichen Natur zu leben. Dabei ist für den Stoiker nur die Tugend ein Gut und nur die Schlechtigkeit ein echtes Übel. Alles andere, z. B. der Besitz materieller, äußerer Dinge oder der Verlust geliebter Menschen, sind für (...) einen Weisen kein Grund, vom steten Weg zu Ausgeglichenheit und Glückseligkeit abzuweichen. Nach annähernd sechzig Jahren gibt es endlich wieder eine neue große Stoiker-Ausgabe. Das zweibändige Werk, übersetzt und kommentiert von Rainer Nickel, ist nicht nur für Philosophen ein echtes Desiderat. Über Seneca oder Marc Aurel wirken die Gedanken dieser Philosophenschule bis in unsere Tage. Überraschend aktuell und modern wirken beispielsweise die Ratschläge, in allem das rechte Maß zu wahren oder in Übereinstimmung mit der Natur zu leben - ein philosophischer Weg zur seelischen Gesundheit. Im Mittelpunkt stehen die Begründer der Stoa, Zenon, Kleanthes, Persaios, Sphairos, Dionysios von Herakleia, Ariston, Herillos, Chrysippos sowie Panaitios und Poseidonios. Gewirkt habe sie in der Zeit zwischen dem 4. und dem 1. Jahrhundert v. Chr. Wichtige Vermittler stoischen Gedankengutes waren Cicero, Seneca und Marc Aurel. (shrink)

Die Erfahrung eines Konflikts zwischen Forderungen der Moral und kluger Verfolgung des Eigeninteresses ist elementar. In Gefangenen-Dilemma-Situationen hat es für die Beteiligten katastrophale Konsequenzen, wenn alle klug ihr Eigeninteresse verfolgen. Hingegen kann in solchen Situationen jeder unter dem Gesichtspunkt seines Eigeninteresses besser gestellt werden, wenn sich jeder von Forderungen der Moral leiten läßt. Eine Funktion der Moral kann daher sein, die Individuen gerade vor den Fallen der Klugheit zu schützen.

Die Erfahrung eines Konflikts zwischen Forderungen der Moral und kluger Verfolgung des Eigeninteresses ist elementar. In Gefangenen-Dilemma-Situationen hat es für die Beteiligten katastrophale Konsequenzen, wenn alle klug ihr Eigeninteresse verfolgen. Hingegen kann in solchen Situationen jeder unter dem Gesichtspunkt seines Eigeninteresses besser gestellt werden, wenn sich jeder von Forderungen der Moral leiten läßt. Eine Funktion der Moral kann daher sein, die Individuen gerade vor den Fallen der Klugheit zu schützen.

Vorwort : Musik im Leben und Nachleben Herders -- Ästhetischer Sensus zwischen Empirie und Metaphysik -- Zu Analyse komponierter Anthropologie -- Musikalische Subjektivität als anthropologische Kategorie -- Ausblick.

In den sozialwissenschaftlichen und sozialtheoretischen Diskussionen ruckt nach einer langeren Interimszeit wieder zunehmend die Frage nach den Konstitutionsbedingungen des Sozialen, von Sozialitat bzw. sozialen Gebilden in den Vordergrund.

Der Beitrag der Mathematik zur Naturwissenschaft besteht darin, Erkenntnisse a priori von den (empirischen) Gegenständen der letzteren zu gewinnen und — unter der Voraussetzung, daß es überhaupt Empirisches g i b t -, die Existenz solcher Gegenstände a priori zu sichern. Die Aufgabe der Metaphysik ist es, besondere Begriffe ( in bezug auf die körperliche Natur) zu bilden und die Prinzipien für deren mathematische Konstruktion zu entwickeln. Die so "metaphysischkonstruierten" Begriffe werden dann durch Angabe empirischer Modelle physikalisch interpretiert.

Can aesthetic concepts reflect and provide answers for ethical aspects and issues? Is "more ethics, less aesthetics" applicable, according to the motto of the Venice Biennial for architecture in the year 2000? Or isn't "more aesthetics" in fact just what is required to encourage reflection about ethical responsibilities and dimensions in architecture, art, and design? This publication is a collection of reflections about the ethical and political dimensions of creations, presented from the point of view of art, architecture, design, and (...) curatorial practice. The contributions range from historical reviews to future-oriented outlooks, illustrating interdisciplinary connections. (shrink)

Das Kernanliegen Eugen Finks gilt dem Weltverhältnis des Menschen. Obgleich für ihn zunächst die Ansätze von Husserl und Heidegger richtungsweisend sind, legt Fink bereits in seiner bei Husserl angefertigten Dissertation den Grund zu seiner eigenständigen philosophischen Position. Sein späteres "kosmologisches" Denken erschließt dem Weltbegriff durch Rückgriff auf die philosophische Tradition neue Dimensionen und konkretisiert ihn zugleich im Rahmen einer Philosophischen Anthropologie, Sozialphilosophie und einer Philosophie des Pädagogischen. Mit dieser Verschränkung von Mensch und Kosmos bietet Finks Werk bedeutsame Ansatzpunkte für die (...) interdisziplinäre geistes- und naturwissenschaftliche Forschung. Der erste Teil des Buches verortet Finks kosmologisches Denken im Kontext der philosophischen Tradition. Im zweiten Teil wird Finks Konzept sowohl bezüglich seines Gesamtentwurfs wie seiner philosophisch-anthropologischen, sozialtheoretischen und religionsphilosophischen Implikationen befragt. Der Band wird durch Finks Studie "Nietzsches Metaphysik des Spiels" eröffnet. Diese aus dem Jahr 1946 stammende und bislang unveröffentlichte Arbeit belegt die wichtige Rolle, die Nietzsche bei der Ausbildung von Finks Denken von Welt gespielt hat. (shrink)

Various studies have shown a decrease in well-being and an increase in mental health problems during the COVID-19 pandemic; however, only a few studies have explored fear, depression, and well-being cross-culturally during this time. Accordingly, we present the results of a cross-cultural study that compares these mental health scores for German and South African students, compares the correlations among them, and identifies COVID-19 fear, well-being, and depression predictors. German and South African societies differ from each other socio-culturally, politically, and economically. (...) Their university systems also differ to a large extent. University students in both countries completed the Fear of COVID-19 Scale, the World Health Organization-Five Well-Being Index, and the Patient Health Questionnaire-9. Welch’s t-test, correlation, and multiple regression analyses were performed. German students were found to have statistically lower levels of COVID-19 fear and depression, but lower levels of general well-being than South African students. In both samples, fear of COVID-19 was negatively correlated with well-being and positively associated with female gender and depression. Additionally, female gender, depression, and lower well-being were identified as predictors of COVID-19 fear in both samples. The findings indicate that the fear of COVID-19 is associated with and varies according to gender, depression, and well-being across cultures, and that the difference in the intensity of fear between German and South African students may be partly explained by cultural and contextual differences. These findings can create a deeper understanding of the pandemic’s impact on student communities and may be used by mental health practitioners and researchers to develop and apply culture-specific interventions. (shrink)

ZusammenfassungDie Ökonomisierung bzw. die Kommerzialisierung des Sports ist ein langfristiger Prozess, der sich bereits seit der Wende zum 20. Jahrhundert vollzog und unterschiedliche Sportarten in unterschiedlichen Entwicklungsphasen und Geschwindigkeiten erfasste. Sportartikelunternehmen wie adidas beschleunigten diese Entwicklung nach dem Zweiten Weltkrieg, indem sie anlässlich sportlicher Großereignisse wie Olympischen Spielen oder Fußball-Weltmeisterschaften intensive Kontakte und Netzwerke zu Spitzensportlern und Funktionären aufbauten. Dabei ging es zunächst um die individuelle Ausrüstung der Sportler mit Schuhen und Kleidung, seit den 1960er Jahren dann auch um Promotionverträge (...) bei denen – in West- wie in Osteuropa – Geldzahlungen eine zunehmend wichtige Rolle spielten. Eine solche Vermarktlichung – also die Gestaltung von Prozessen, die bislang über den Staat oder bürokratische Strukturen und nun zunehmend über den Markt geregelt wurden (Ahrens et al. 2015: 395f.) Ökonomisierung, Kommerzialisierung und Vermarktlichung sind verwandte Begriffe, die z.T. auch synonym benutzt werden. Siehe dazu jüngst Graf (2019)., was im Vergleich zu anderen gesellschaftlichen Subsystemen durchaus eine Art „Normalisierung“ darstellte, erreichte spätestens in den 1980er Jahren und mit der massenmedialen Verbreitung des Sports neue Dimensionen, die wiederum mit Hilfe von adidas unter Horst Dassler in Kooperation mit dem IOC und der FIFA vorangetrieben wurden und die Grundlagen einer Kommerzialisierungsspirale legten, deren Auswirkungen bis in die Gegenwart reichen. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host (...) of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

Interactive social cognition theory and approaches of developmental psychology widely agree that central aspects of emotional and social experience arise in the unfolding of processes of embodied social interaction. Bi-directional dynamical couplings of bodily displays such as facial expressions, gestures, and vocalizations have repeatedly been described in terms of coordination, synchrony, mimesis, or attunement. In this paper, I propose conceptualizing such dynamics rather as processes of affective resonance. Starting from the immediate phenomenal experience of being immersed in interaction, I develop (...) the philosophical notion of affective resonance to refer to a dynamic entanglement of moving and being-moved in relation. The concept of affective resonance makes visible that the interaction dynamic itself creates an affective experience rather than transmitting internal feeling states between pre-existent individuals. This leads to a philosophical framework in which relationality and ontogeny are primary over separate individuals, and in which the naturalistic distinction of a fundamental physical level versus an emerging level of social processes has to be given up. (shrink)

Die Frage, wie sich Aussagen uber Fahigkeiten von Personen zu Aussagen uber Moglichkeiten von Zustanden in der Welt verhalten, ist fur unser menschliches Selbstverstandnis zentral. Der vorliegende Band versammelt unter dieser Frage durchweg Originalbeitrage in historisch-systematischer Absicht; sie behandeln die Geschichte der Metaphysik und Ontologie von Parmenides bis Heidegger.INHALT: VORWORT - Klaus Jacobi: Das Konnen und die Moglichkeiten. Potentialitat und Possibilitat - Mischa von Perger: Moglichkeit, Parmenideisch - Ulrich Nortmann: 'Das Saatkorn ist dem Vermogen nach eine Pflanze'. Uber ontologische und (...) logische Aspekte Aristotelischer Moglichkeitssatze - Sang-Jin Kang: Anselm und die modallogische Betrachtung der gottlichen Notwendigkeit - Michael Astroh: Petrus Abaelardus on Modalities de re and de dicto - Christopher Martin: Peter Abaelard on Modality. Some Possibilities and Some Puzzles - Allan Back: Avicenna and Averroes: Modality and Theology - Seung-Chan (Elias) Park: Die Differenz von personlicher und unpersonlicher Moglichkeit bei Thomas von Aquin - Charles Lohr: 'Art' and Possibility: The Rule Concerning Possibility in the Ars lulliana - Peter King: Duns Scotus on Possibilities, Powers, and the Possible - Matthias Kaufmann: Gottes Allmacht und die Wahrheit modaler Satze. Potentialitat und Possibilitat bei Wilhelm von Ockham - Simo Knuuttila: On the History of Theory of Modality as Alternativeness - Stephan Meier-Oeser: Potentia versus Possibilitas? Posse! Zur cusanischen Konzeption der Moglichkeit - Dominik Perler: Cartesische Moglichkeiten - Hans Poser: Leibniz'sche Handlungsmodi zwischen Ontologie und Deontologie - Wilhelm Metz: Der transzendentale Moglichkeitsbegriff bei Kant und Fichte - Rainer Marten: Heidegger: Die eigenste eigentliche Moglichkeit - Tilman Borsche: Moglichkeiten des Seins, Moglichkeiten des Denkens - Thomas Buchheim: Zwischen Antinomie und Kompatibilitat: Versuch uber die naturliche Einbettung unserer Handlungsfreiheit - Kuno Lorenz: Dynamis und Energeia. Zur Aktualitat eines begrifflichen Werkzeugs von Aristoteles. (shrink)

Data analytics and data-driven approaches in Machine Learning are now among the most hailed computing technologies in many industrial domains. One major application is predictive analytics, which is used to predict sensitive attributes, future behavior, or cost, risk and utility functions associated with target groups or individuals based on large sets of behavioral and usage data. This paper stresses the severe ethical and data protection implications of predictive analytics if it is used to predict sensitive information about single individuals or (...) treat individuals differently based on the data many unrelated individuals provided. To tackle these concerns in an applied ethics, first, the paper introduces the concept of “predictive privacy” to formulate an ethical principle protecting individuals and groups against differential treatment based on Machine Learning and Big Data analytics. Secondly, it analyses the typical data processing cycle of predictive systems to provide a step-by-step discussion of ethical implications, locating occurrences of predictive privacy violations. Thirdly, the paper sheds light on what is qualitatively new in the way predictive analytics challenges ethical principles such as human dignity and the (liberal) notion of individual privacy. These new challenges arise when predictive systems transform statistical inferences, which provide knowledge about the cohort of training data donors, into individual predictions, thereby crossing what I call the “prediction gap”. Finally, the paper summarizes that data protection in the age of predictive analytics is a collective matter as we face situations where an individual’s (or group’s) privacy is violated using dataotherindividuals provide about themselves, possibly even anonymously. (shrink)

Colour has long been a source of fascination to both scientists and philosophers. In one sense, colours are in the mind of the beholder, in another sense they belong to the external world. Colours appear to lie on the boundary where we have divided the world into 'objective' and 'subjective' events. They represent, more than any other attribute of our visual experience, a place where both physical and mental properties are interwoven in an intimate and enigmatic way. -/- The last (...) few decades have brought fascinating changes in the way that we think about 'colour' and the role 'colour' plays in our perceptual architecture. In Colour Perception: Mind and the physical world, leading scholars from cognitive psychology, philosophy, neurophysiology, and computational vision provide an overview of the contemporary developments in our understanding of colours and of the relationship between the 'mental' and the 'physical'. With each chapter followed by critical commentaries, the volume presents a lively and accessible picture of the intellectual traditions which have shaped research into colour perception. -/- Written in a non-technical style and accessible to an interdisciplinary audience, the book will provide an invaluable resource for researchers in colour perception and the cognitive sciences. (shrink)

The chapter argues from an ethology-inspired internalist perspective that ‘colour’ is not a homogeneous and autonomous attribute, but rather plays different roles in different conceptual forms underlying perception. It discusses empirical and theoretical evidence that indicates that core assumptions underlying orthodox conceptions are grossly inadequate. The assumptions pertain to the idea that colour is a kind of autonomous and unitary attribute. It is regarded as unitary or homogeneous by assuming that its core properties do not depend on the type of (...) ‘perceptual object’ to which it pertains and that‘colour per se’ constitutes a natural attribute in the functional architecture of the perceptual system. It is regarded as autonomous by assuming that it can be studied in isolation of other perceptual attributes. More generally, the chapter argues on the bases of corresponding empirical and theoretical evidence that perception cannot be understood as the ‘recovery’ of physical world structure from sensory structure by input-based computational processes. Rather, the sensory input serves as a kind of sign for biologically relevant aspects of the external world that activates biologically given conceptual forms with their internal parameters. Although the sensory input is a causally necessary requirement for the activation of conceptual forms, the perceptual computations triggered are under the control of an internal programme based on a set of conceptual forms. (shrink)

It is surprising how far one can get by thinking things through. (Alec Fisher [2004], The logic of real arguments, p. 1)In the first part of the article, the central role of theory in emotion psych...

Evidence on the coherence between emotion and facial expression in adults from laboratory experiments is reviewed. High coherence has been found in several studies between amusement and smiling; low to moderate coherence between other positive emotions and smiling. The available evidence for surprise and disgust suggests that these emotions are accompanied by their “traditional” facial expressions, and even components of these expressions, only in a minority of cases. Evidence concerning sadness, anger, and fear is very limited. For sadness, one study (...) suggests that high emotion–expression coherence may exist in specific situations, whereas for anger and fear, the evidence points to low coherence. Insufficient emotion intensity and inhibition of facial expressions seem unable to account for the observed dissociations between emotion and facial expression. (shrink)

Based on the belief that computational modeling (thinking in terms of representation and computations) can help to clarify controversial issues in emotion theory, this article examines emotional experience from the perspective of the Computational Belief–Desire Theory of Emotion (CBDTE), a computational explication of the belief–desire theory of emotion. It is argued that CBDTE provides plausible answers to central explanatory challenges posed by emotional experience, including: the phenomenal quality,intensity and object-directedness of emotional experience, the function of emotional experience and its relation (...) to cognition and motivation, and the relation between emotional experience and emotion. In addition, CBDTE avoids most objections that have been raised against cognitive theories of emotion. A remaining objection, that beliefs are not necessary for the emotions covered by CBDTE, is rejected as empirically unsupported. (shrink)

The chapter deals with the notion of phenomenal realness, which was first systematically explored by Albert Michotte. Phenomenal realness refers to the impression that a perceptual object is perceived to have an autonomous existence in our mind-independent world. Perceptual psychology provides an abundance of phenomena, ranging from amodal completion to picture perception, that indicate that phenomenal realness is an independent perceptual attribute that can be conferred to perceptual objects in different degrees. The chapter outlines a theoretical framework that appears particularly (...) well-suited for dealing with corresponding phenomena. According to this framework, perception can be understood as a triggering of conceptual forms by sensor inputs. It is argued that the attribute of phenomenal realness is based on specific types of internal evaluation functions which deal with the segregation of causes conceived as ‘external’ from those conceived as ‘internal’. These evaluation functions integrate different internal sources of ‘knowledge’ about the potential causes for the activation of conceptual forms and provide markers by which conceptual forms can be tagged as ‘external world objects’. (shrink)

The chapter deals with misconceptions in perception theory that are based on the idea of slicing the nature of perception along the joints of physics and on corresponding ill-conceived ʹpurposesʹ and ʹgoalsʹ of the perceptual system. It argues that the conceptual structure underlying the percept cannot be inferentially attained from the sensory input. The output of the perceptual system, namely meaningful categories, is evidently vastly underdetermined by the sensory input, namely physico-geometric energy patterns. Thus, the core task of perception theory (...) is to understand the internal conceptual structure with which our perceptual system is endowed. The conceptual structure underlying the semantic distinctions that characterise the output of the perceptual system can, by conceptual necessity, only be expressed by a logical language that is strictly more powerful than the logical language by which sensory notions can be expressed. Consequently, the internal structure underlying perceptual meaning – including core notions such as ‘Gestalt’ or ‘perceptual object’ – cannot be derived, by whatever kind of general inductive machinery, from the sensory input, or, more generally, from experience. (shrink)

Introduction: the foundation of justice -- Practical reason and justifying reasons: on the foundation of morality -- Moral autonomy and the autonomy of morality : toward a theory of normativity after Kant -- Ethics and morality -- The justification of justice: Rawls's political liberalism and Habermas's discourse theory in dialogue -- Political liberty: integrating five conceptions of autonomy -- A critical theory of multicultural toleration -- The rule of reasons: three models of deliberative democracy -- Social justice, justification, and power (...) -- The basic right to justification: toward a constructivist conception of human rights -- Constructions of transnational justice: comparing John Rawls's the law of peoples and Otfried Höffe's democracy in an age of globalisation -- Justice, morality, and power in the global context -- Toward a critical theory of transnational justice. (shrink)

Research on cognition and emotion during the past 30 years has made reasonable progress in theory, methods and empirical research. New theories of the cognition–emotion relation have been proposed, emotion research has become more interdisciplinary, and improved methods of emotion measurement have been developed. On the empirical side, the main achievement of the past 30 years is seen to consist in the reduction of the set of serious contenders for a theory of emotions. Still, several important issues are not fully (...) resolved, including the computational implementation of appraisal processes, the nature of emotions, and the link between emotions and actions. Also, quantitative theories of the cognition–emotion relation need to be refined and tested, and improved theories of the link between emotions and bodily and facial expressions need to be developed. To counter the dangers of theoretical fragmentation and knowledge loss, more efforts should be devoted to the analysis, reconstruction, comparison and integration of important theories and hypotheses in the field of emotion, as well as to the systematization of arguments in favor and against these theories and hypotheses. (shrink)

A new experimental paradigm involving a computerised quiz was used to examine, on an intra-individual level, the strength of association between four components of the surprise syndrome: cognitive (degree of prospectively estimated unexpectedness), experiential (the feeling of surprise), behavioural (degree of response delay on a parallel task), and expressive (the facial expression of surprise). It is argued that this paradigm, together with associated methods of data analysis, effectively controls for most method factors that could in previous studies have lowered the (...) correlations among the components of emotion syndromes. It was found that (a) the components of the surprise syndrome were all positively correlated; (b) strong association existed only between the cognitive and the experiential component of surprise; (c) the coherence between syndrome components did not increase with increasing intensity of surprise; and (d) there was also only moderate coherence between the components of the facial expression of surprise (eyebrow raising, eye widening, mouth opening), although in this case, coherence tended to increase with intensity. Taken together, the findings support only a weakly probabilistic version of a behavioural syndrome view of surprise. However, the component correlations seem strong enough to support the existence of strong associations among a subset of the mental or central neurophysiological processes engaged in surprise. (shrink)