In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

The seventeenth century witnesses the demise of two core doctrines in the theory of perception: naive realism about color, sound, and other sensible qualities and the empirical theory, drawn from Alhacen and Roger Bacon, which underwrote it. This created a problem for seventeenth century philosophers: how is that we use qualities such as color, feel, and sound to locate objects in the world, even though these qualities are not real? -/- Ejecting such sensible qualities from the mind-independent world at once (...) makes for a cleaner ontology, since bodies can now be understood in purely geometrical terms, and spawns a variety of fascinating complications for the philosophy of perception. If sensible qualities are not part of the mind-independent world, just what are they, and what role, if any, do they play in our cognitive economy? We seemingly have to use color to visually experience objects. Do we do so by inferring size, shape, and motion from color? Or is it a purely automatic operation, accomplished by divine decree? -/- This volume traces the debate over perceptual experience in early modern France, covering such figures as Antoine Arnauld, Robert Desgabets, and Pierre-Sylvain Regis alongside their better-known countrymen Rene Descartes and Nicolas Malebranche. (shrink)

_Interprets Heidegger’s phenomenological reading of Aristotle’s philosophy._.

This is the first complete English translation of _On the Purity of the Art of Logic, _a handbook of logic written in Latin by English philosopher Walter Burley. The work circulated in the Middle Ages in two versions, a shorter and a longer one, both translated here by Paul Vincent Spade. The translations are based on the only complete edition of Burley’s treatises, corrected by Spade on the basis of one of the surviving manuscripts. The book also includes an (...) extensive introduction, explanatory notes, a table of corresponding passages between the two versions, a select annotated bibliography, and three indexes. A contemporary of John Duns Scotus and William of Ockham, Burley was active at the universities of both Paris and Oxford. He became one of the most important figures in the transformation of medieval logic and semantics that took place in the early fourteenth century. Burley used new tools and techniques of logical and semantical analysis, yet in many cases he used them in defense of traditional views, such as a realist metaphysical theory of “universals_._”_ On the Purity of the Art of Logic_ shows_ _both these sides of Burley—the innovator and the conservative—as well as some of the ways in which his views corresponded or clashed with those of William of Ockham. (shrink)

This book brings the idea of a public—defined in part as the quality of communication among strangers—back into focus. The benefits of doing this are many, but perhaps the most important are to adjust our understanding of what is good teaching and to widen our understanding of what counts as central to the educational process.

A discussion with ChatGPT showing both its weaknesses and strengths for researchers in the humanities.

It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aesthetic value, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion that both (...) composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)

Keine ausführliche Beschreibung für "Materie, Bewegung, kosmische Entwicklung" verfügbar.

Polynomizing is a term that intends to describe the uses of polynomial-like representations as a reasoning strategy and as a tool for scientific heuristics. I show how proof-theory and semantics for classical and several non-classical logics can be approached from this perspective, and discuss the assessment of this prospect, in particular to recover certain ideas of George Boole in unifying logic, algebra and the differential calculus.

Business codes and company image If there has been a loss of public confidence in British companies in, misconduct is likely the reason. ...

2. Was hei~t Freiheit?......................... 13 Definitionen von Werten 3. Werte im Gedankenspiel oder in der Anwendung? 18 4. Wie steht es heute urn soziale Sicherheit?....... 24 Kenntnis der Wertverwirklichungen bis zur Gegenwart 5. Kein Wert kann allein filr sich verwirklicht werden.................................. 28 Kombination von Werten 6. Wie reagieren die Anderen auf die Anwendung von Werten?................................. 35 Gegenseitigkeit der Wertumsetzungen 7. Absolute Oberzeugungen oder allHigliche Wert- spriiche?................................ 39 Stu/en der Werteinstellungen 8. Was steht obenan?......................... 42 Rangordnungen von Werten 9. Wie weit (...) gilt noch Leistungsorientierung und wie wird Leistung aufgefa~t?.................... 49 10. Was ist geblieben - was hat sich verandert?..... 57 Bestiindigkeit oder Wandel in den Werteinstellungen 11. Industrielle oder postindustrielle Werte......... 66 12. Die "schweigende Mehrheit"................. 73 l3. Wie bringt man Werte in eine Rangfolge?....... 82 14. Systematische Abgrenzung von Werten - Zielen - Normen................................. 85 15. Perfekte Methoden - verworrene Ziele?........ 96 Di//erenzen zwischen Mitteln und Zwecken, Wirkungen und Gegenwirkungen 5 16. Werte und Gegenwerte.................... 103 17. Zur Psycho1ogie und Sozio1ogie der Werte...... III 18. Langhin gilltige Werte................... " 11 5 19. Historische Regenerationen............. 124 20. Bio-psychische Konstanten und Normalitaten. " 131 21. Anthropo1ogische Aspekte................. l36 22. Sch1uf. \wort............................. 142 23. Literaturhinweise........................ 144 6 1. Einleitung Seit Jahrzehnten sprechen viele Autoren und Zeitge­ nossen von Werteschwund, Wertezerfall oder Substanzver­ lust. Sie meinen damit, da~ Werte wie z. B. Freiheit, Lei­ stung oder Bildung unwichtig oder unverbindlich oder gar unbekannt werden. Fast jeder wird damit angesprochen. (shrink)