Inhaltsverzeichnis/Table of Contents: Introduction. Marc SLORS: Epiphenomenalism and Cross-Realization Induction. Michael PAUEN: Is Type Identity Incompatible with Multiple Realization? Sven WALTER: Need Multiple Realizability Deter the Identity-Theorist? Achim STEPHAN: Emergentism, Irreducibility, and Downward Causation. Carl GILLETT: The Varieties of Emergence: Their Purposes, Obligations and Importance. Wim DE MUIJNCK: Causation by Relational Properties. Albert NEWEN & Rimas ČUPLINSKAS: Mental Causation: A Real Phenomenon in a Physicalistic World without Epiphenomenalism or Overdetermination. Bernd LUDWIG: Warum kommen „mentale Ursachen“ physikalischen Erklärungen eigentlich (...) nicht in die Quere? Einige grundsätzliche Überlegungen zur Verwendung des Ausdrucks „A verursacht B“ im Umkreis moderner naturwissenschaftlicher Theorien. Besprechungen/Review Articles. Buchnotizen/Critical Notes. (shrink)

A number of studies have demonstrated pragmatic language difficulties in people with Schizophrenia Spectrum and Other Psychotic Disorders. However, research about how people with schizophrenia spectrum and other psychotic disorders understand scalar implicatures is surprisingly rare, since SIs have generated much of the most recent literature. Scalar implicatures are pragmatic inferences, based on linguistic expressions like some, must, or, which are part of a scale of informativeness. Logically, the less informative expressions imply the more informative ones, but pragmatically people usually (...) infer that the presence of a less informative term implies that the more informative term was not applicable. In one of the few existing studies with people with schizophrenia spectrum and other psychotic disorders, Wampers et al. observed that in general, people with schizophrenia spectrum and other psychotic disorders were less likely to derive SIs than controls. The current study has three main aims. First, we want to replicate the original finding with the scalar terms some-all. Second, we want to investigate how these patients deal with different scalar terms, that is, we want to investigate if scalar diversity is also observed in this clinical group. Third, we investigate the role of working memory, often seen as another important mechanism to enable inferring SIs. Twenty-one individuals with a psychotic disorder and 21 matched controls answered 54 under-informative statements, in which seven different pairs of scalar terms were used. In addition, working memory capacity was measured. Patients with schizophrenia spectrum and other psychotic disorders did not make more logical interpretations when processing quantifiers, disconfirming Wampers et al.. However, certain scalar scales elicited more pragmatic interpretations than others, which is in line with the scalar diversity hypothesis. Additionally, we observed only partial evidence for the role of working memory. Only for the scalar scale and-or, a significant effect of working memory was observed. The implications of these results for patients with schizophrenia spectrum and other psychotic disorders are discussed, but also the role of working memory for pragmatic inferences, as well as the place of SIs in experimental pragmatics. (shrink)

Throughout his mature writings, Berkeley speaks of minds as substances that underlie or support ideas. After initially flirting with a Humean account, according to which minds are nothing but ‘congeries of Perceptions’, Berkeley went on to claim that a mind is a ‘perceiving, active being … entirely distinct’ from its ideas. Despite his immaterialism, Berkeley retains the traditional category of substance and gives it pride of place in his ontology. Ideas, by contrast, are ‘fleeting and dependent beings’ that must be (...) supported by a mental substance. There is no doubt that Berkeley's conception of the relationship between minds and ideas is non-traditional, but that fact does not undercut his commitment to the traditional conception of substance. (shrink)

Throughout his mature writings, Berkeley speaks of minds as substances that underlie or support ideas. After initially flirting with a Humean account, according to which minds are nothing but ‘congeries of Perceptions’, Berkeley went on to claim that a mind is a ‘perceiving, active being... entirely distinct’ from its ideas. Despite his immaterialism, Berkeley retains the traditional category of substance and gives it pride of place in his ontology. Ideas, by contrast, are ‘fleeting and dependent beings’ that must be supported (...) by a mental substance. There is no doubt that Berkeley’s conception of the relationship between minds and ideas is non-traditional, but that fact does not undercut his commitment to the traditional conception of substance. A robust literature has grown up around the thorny issue of reconciling Berkeley’s endorsement of mental substance with his rejection of its material counterpart. (shrink)

The Many Faces of Patriotism debate the consequences of the 21st century's patriotic resurgence, examining it both in theoretical and comparative terms that draw on examples of patriotism from ancient Greece to post-apartheid South Africa.

En dehors de Pascal en France, c'est surtout en Allemagne que tragique et tristesse ont été mis en rapport avant que leur distinction soit largement développée par Walter Benjamin dans son livre sur le drame baroque. L'opposition faite par Benjamin entre le Trauerspiel et la tragédie peut être interprétée comme l'aboutissement et l'achèvement d'une distinction courante dans la philosophie allemande depuis Hegel entre le " tragique " (antique) et le " triste " de la modernité (romantique). Si ces deux (...) termes ne sont pas ressentis en français comme formant un couple de concepts, il n'en va pas de même dans la philosophie et l'esthétique allemandes, où ils apparaissent régulièrement ensemble, exprimant soit une différence de degré (Hegel, Simmel), soit de nature (Nietzsche, Ziegler), soit enfin un rapport de polarité (Benjamin) et où se jouent des rapports différents avec le mythe et l'histoire. C'est un des grands mérites de Benjamin que d'avoir saisi cette polarité entre le tragique et le triste, qui n'avait jamais été formulée explicitement avant lui, et de l'avoir élevée au rang de théorie dans son opposition entre Trauerspiel et tragédie. Pour comprendre en profondeur les implications du concept de Trauerspiel introduit par Benjamin, et du concept de tristesse qui lui est lié, il est nécessaire de se replonger dans la tradition allemande, de connaître le milieu philosophique dans lequel Benjamin a fait ses études, en particulier les discussions autour de la philosophie de l'histoire et de la structure du temps au début du XXe siècle. Toute la pensée de Benjamin s'éclaire alors sous un jour nouveau qui permet de mieux saisir le lien entre ses écrits de jeunesse et sa pensée ultérieure. (shrink)

Interpersonal sensitivity, particularly threat of potential exclusion, is a critical condition in borderline personality disorder (BPD) which impairs patients’ social adjustment. Current evidence-based treatments include group components, such as mentalization-based group therapy (MBT-G), in order to improve interpersonal functioning. These treatments additionally focus on the therapeutic alliance since it was discovered to be a robust predictor of treatment outcome. However, alliance is a multidimensional factor of group therapy, which includes the fellow patients, and may thus be negatively affected by the (...) exclusion-proneness of BPD patients. The aim of this pilot study was to examine the predictive value of threat of social exclusion for the therapeutic alliance in MBT-G. In the first part of the study, social exclusion was experimentally induced in 23 BPD inpatients and 28 healthy subjects using the Cyberball paradigm, a virtual ball tossing game. The evoked level of threat was measured with the Need-Threat Scale (NTS) which captures four dimensions of fundamental human needs, i. e. the need for belongingness, for self-esteem, for control, and for a meaningful existence. In the second part of the study, therapeutic alliance was measured on three dimensions, the therapists, the fellow patients and the group as a whole, using the Group-Questionnaire (GQ-D). BPD patients scored higher in their level of threat according to the NTS in both, the inclusion and the exclusion condition. The level of threat after exclusion predicted impairments of the therapeutic alliance in MBT-G. It was associated with more negative relationships, lower positive bonding and a lower positive working alliance with the fellow patients and lower positive bonding to the group as a whole whilst no negative prediction of the alliance to the therapists was found. Consequently, our translational study design has shown that Cyberball is an appropriate tool to use as an approach for clinical questions. We further conclude that exclusion-proneness in BPD is a critical feature with respect to alliance in group treatments. In order to neutralize BPD patients’ exclusion bias, therapists may be advised to provide an “inclusive stance”, especially in initial sessions. It is also recommendable to strengthen patient to patient relations. (shrink)

This article aims at presenting the concept of “phantasmagorical interpellation”. This theoretical effort is inspired by Walter Benjamin’s concept of “phantasmagoria” and Louis Althusser’s concept of “ideological interpellation”. The proposal is to ally their respective philosophical work-in-progress in their “anthropological” and “aleatory” materialisms in order to provide a socio-political analysis of today’s capitalist aesthetics as displayed in postmodern architecture or the design of everyday life. The aim is also to open new perspectives of resistance to the normativity of the (...) consumer imaginary using a critical interpretation of cultural creations which, following the inspiration of both authors, could reveal a new subject history capable of burst onto the scene of history. (shrink)

Meaningful relationships are centrally important for human functioning. It remains unclear, however, which aspects of meaningful relationships impact wellbeing the most and whether these differ between psychiatric patients and members of the community. Information about relationship attributes and functions were collected in community members and psychiatric patients. Relationship attributes and functions were examined for differences between groups, their impact on wellbeing and symptoms, and the size of network. Community members reported fewer relationships, higher frequency of contact and less desire for (...) change when compared to the psychiatric patients. Nevertheless, both groups reported relatively high levels of fulfilled functions. Quality of the relationship and investment into the relationship was associated with both wellbeing and symptoms for both the community and the patient group. Almost all functions were associated with wellbeing and symptoms for the community group. However, for the patient group, only few functions were associated with wellbeing and no functions were associated with symptoms. Contrary to our hypotheses, the results show that psychiatric patients do not have a deficit in fulfilling relationships. Most people report a well-functioning network of meaningful, high-quality relationships. Patients benefit from meaningful, function-fulfilling relationships just as much as community members. Results are discussed with respect to how targeting relationships can be used clinically. (shrink)

Resumé: Walter Benjamin est de plus en plus présent dans les départements de communication aujourd'hui, et parfois même utilisé dans le discours des communicants eux-mêmes. Pourtant, quelque chose en lui résiste à cette instrumentalisation: c'est que, dans son œuvre, le langage ne sert pas à communiquer un sens prédéfini, mais à exprimer cela même qui est refusé au mot. Le philosophe allemand va jusqu'à liquider la posture révolutionnaire de l'artiste encore pris dans l'idéologie de la communication: il ne s'agit (...) ni de remplacer le contenu, ni de rénover la forme, mais, objectif apparemment modeste mais radicalement plus ambitieux, de changer la technique.: Walter Benjamin is ever more present in today's departments of communication studies, and sometimes even used in the communicants' discourses themselves. But there is something in him which resists this instrumentalization. Indeed, in his work, language does not offer itself to the communication of a predefined sense, but instead expresses what remains inaccessible to the word. The German philosopher succeed in liquidating the revolutionary posture of the artist still caught in the ideology of communication. This is neither a matter of substituting the content, nor of renovating the form, but - an apparently modest but radically more ambitious objective - of changing the technique. (shrink)

RESUMO Este artigo pretende introduzir o conceito de “interpelação fantasmagórica”. O esforço teórico se inspira nos conceitos de “fantasmagoria”, de Walter Benjamin, e de “interpelação ideológica”, de Louis Althusser. A proposta é aliar suas respectivas filosofias em processo a seus materialismos “antropológico” e “aleatório”, a fim de fazer uma análise sociopolítica da estética capitalista de hoje, tal como ela aparece na arquitetura pós-moderna e no design da vida cotidiana. Trata-se também de abrir novas perspectivas de resistências a normatividade do (...) imaginário consumista com uma interpretação crítica das criações culturais que, conforme a inspiração dos autores, pode desvelar um novo sujeito capaz de surgir na cena da história. ABSTRACT This article aims at presenting the concept of “phantasmagorical interpellation”. This theoretical effort is inspired from Walter Benjamin’s concept of “phantasmagoria” and Louis Althusser’s concept of “ideological interpellation”. The proposal is to connect their respective philosophical work-in-progress in their “anthropological” and “aleatory” materialisms for a socio-political analysis of today’s capitalist aesthetic as displayed in postmodern architecture and the design of everyday life. It is also to open new perspectives of resistance to the normativity of the consumer imaginary with a critical interpretation of cultural creations that, following the inspiration of both authors, could reveal a new subject of history able to suddenly appear on the scene of history. (shrink)

Siguiendo su idea de la tarea del crítico, Walter Benjamin hace surgir imágenes de felicidad de Calderón en el paisaje “originario” en ruinas de Gryphius: la estrella fugaz del barroco español brilla, intermitente, en las tinieblas demoníacas del barroco silesio. El barroco no encuentra así su verdad sino en la inversión dialéctica de su melancolía alegórica en el momento simbólico de la redención. Intento demostrar cómo se manifiesta, en Origen del drama barroco alemán, una dialéctica figurativa suspendida entre símbolo (...) y alegoría, melancolía y redención, precursora das “imágenes dialécticas” que van a polarizar las fantasmagorías capitalistas entre alegoría y utopía. (shrink)

What is the origin of the concept of a law of nature? How much does it owe to theology and metaphysics? To what extent do the laws of nature permit contingency? Are there exceptions to the laws of nature? Is it possible to give a reductive analysis of lawhood, or is it a primitive? -/- Twelve brand-new essays by an international team of leading philosophers take up these and other central questions on the laws of nature, whilst also examining some (...) of the most important intuitions and assumptions that have guided the debate over laws of nature since the concept's invention in the seventeenth century. -/- Laws of Nature spans the history of philosophy and of science, contemporary metaphysics, and contemporary philosophy of science. Contents: 1. Intuitions and Assumptions in the Debate over Laws of Nature, Walter Ott and Lydia Patton 2. Early Modern Roots of the Philosophical Concept of a Law of Nature, Helen Hattab 3. Laws of Nature and the Divine Order of Things: Descartes and Newton on Truth in Natural Philosophy, Mary Domski 4. Leges sive natura: Bacon, Spinoza, and a Forgotten Concept of Law, Walter Ott 5. Laws and Powers in the Frame of Nature, Stathis Psillos 6. Laws and Ideal Unity, Angela Breitenbach 7. Becoming Humean, John W. Carroll 8. A Perspectivalist Better Best System Account of Lawhood, Michela Massimi 9. Laws: An Invariance Based Account, James Woodward 10. How the Explanations of Natural Laws Make Some Reducible Physical Properties Natural and Explanatorily Powerful, Marc Lange 11. Laws and their Exceptions, Stephen Mumford 12. Are laws of nature consistent with contingency?, Nancy Cartwright and Pedro Merlussi. (shrink)

Table of Contents Perspectives on Animal Cognition Chapter 1 The Myth of Anthropomorphism John Andrew Fisher Chapter 2 Gendered Knowledge? Examining Influences on Scientific and Ethological Inquiries Lori Gruen Chapter 3 Interpretive Cognitive Ethology Hugh Wilder Chapter 4 Concept Attribution in Nonhuman Animals: Theoretical and Methodological Problems in Ascribing Complex Mental Processes Colin Allen and Marc Hauser Cognitive and Evolutionary Explanations Chapter 5 On Aims and Methods of Cognitive Ethology Dale Jamieson and Marc Bekoff Chapter 6 Aspects of (...) the Cognitive Ethology of an Injury-Feigning Bird, The Piping Plover Carolyn Ristau Chapter 7 Tradition in Animals: Field Observations and Laboratory Analysis Bennett G. Galef Chapter 8 The Study of Adaptation Randy Thornhill Chapter 9 The Units of Behavior in Evolutionary Explanations Sandra D. Mitchell Chapter 10 Levels of Analysis and the Functional Significance of Helping Behavior Walter D. Koenig and Ron Mumme Recognition, Choice, Vigilance, and Play Chapter 11 The Ubiquitous Concept of Recognition with Special Reference to Kin Andrew R. Blaustein and Richard H. Porter Chapter 12 Do Animals Choose Habitats? Michael Rosenzweig Chapter 13 The Influence of Models on the Interpretation of Vigilance Steven L. Lima Chapter 14 Is There an Evolutionary Biology of Play? Alex Rosenberg Chapter 15 Intentionality, Social Play, and Definition Colin Allen and Marc Bekoff Communication and Language Chapter 16 Communication and Expectations: A Social Process and the Cognitive Operation It Depends upon and Influences W. John Smith Chapter 17 Animal Communication and Social Evolution Michael Philips and Steven Austad Chapter 18 Animal Language: Methodological and Interpretive Issues Sue Savage-Rumbaugh and Karen E. Brakke Chapter 19 Knowledge Acquisition and Asymmetry between Language Comprehension and Production: Dolphins and Apes as General Models for Animals Louis M. Herman and Palmer Morrel-Samuels Animal Minds Chapter 20 Evolution and Psychological Unity Roger Crisp Chapter 21 The Mental Lives of Nonhuman Animals John Dupré Chapter 22 Inside the Mind of a Monkey Robert M. Seyfarth and Dorothy L. Cheney Chapter 23 Science and Our Inner Lives: Birds of Prey, Bats, and the Common Bi-ped Kathleen Akins Chapter 24 Afterword: Ethics and the Study of Animal Cognition. (shrink)

Le caractère destructif ne voit rien de durable. Mais pour cette raison précisément il voit partout des chemins. Là où d’autres butent sur des murs ou sur des montagnes, il voit également un chemin. Mais parce qu’il voit partout un chemin, il doit également partout déblayer le chemin. Pas toujours par la force brutale, parfois avec une force raffinée. Parce qu’il voit partout des chemins, il est lui-même à la croisée des chemins. Aucun instant n’est en mesure de préjuger du (...) suivant.Il transfo... (shrink)

On 9 December 1930, Walter Benjamin sent a copy of his book The Origin of German Tragic Drama to Carl Schmitt, accompanied by a letter in which he expressed his indebtedness to Schmitt: "You will very quickly recognize how much my book is indebted to you for its presentation of the doctrine of sovereignty in the seventeenth century. Perhaps I may say, in addition, that I have also derived from your later works, especially Die Diktatur, a confirmation of my (...) modes of research in the philosophy of art from yours in the philosophy of the state. If the reading of my book allows this feeling to emerge in an intelligible fashion, then the purpose of my sending it to you will be achieved" (qtd. in Weber 1992, 5). As .. (shrink)

Dans cet article, nous reconstruisons le dernier travail de Walter Benjamin, le Livre des passages, comme celui d’un « chiffonnier ». Nous allons ainsi contre le courant qui consiste à considérer cette somme comme un livre achevé, écrit par un « flâneur » ambigu, et l’appréhendons au contraire comme une collecte systématique de rebuts de l’histoire, habituellement ignorés par les historiens, et qui attendent leur classement. La forme définitive doit venir d’une nouvelle dialectique du passé et du présent, qui (...) part de la position historique et politique de Benjamin. Le Livre des passages documente une méthode et une technique d’écriture que nous pouvons reprendre aujourd’hui. (shrink)

Griechische und lateinische Quellenstücke von Hippokrates bis Galen. Welche Fortschritte die Medizin nahm, nachdem man nicht mehr Dämonen als Verursacher von Krankheiten verantwortlich machte, weist Walter Müris Sammlung medizinischer Quellentexte nach. Ob in der Prognostik, der Diätetik, der Anatomie oder der Chirurgie: Neben den recht abenteuerlichen Thesen der sogenannten Hypothesenmedizin oder der auf der Viersäftelehre beruhenden Humoralpathologie leuchten zunehmend Erkenntnisse auf, die auch nach heutigen wissenschaftlichen Maßstäben erstaunlich fortschrittlich sind. Walter Müri lässt die Ärzte selbst zu Wort kommen, (...) von Hippokrates angefangen - bzw. jenen Ärzten, deren Schriften unter seinem Namen überliefert wurden - bis hin zu Galenos, dem Hofarzt von Kaiser Marc Aurel. Die Texte stammen aus der Zeit zwischen 400 v. Chr. und 200 n. Chr. sind unter systematischen Gesichtspunkten geordnet: Aufgabe und Pflichten des Arztes; Über einzelne Ärzte; Am Krankenbett; Gesundheit und Krankheit; Anatomie und Chirurgie; Diätetik, Arzneimittel; Am Rande der Medizin. Mit Nachwort, Erläuterungen, Bibliographie und Register. (shrink)

For much of the twentieth century, philosophy and science went their separate ways. In moral philosophy, fear of the so-called naturalistic fallacy kept moral philosophers from incorporating developments in biology and psychology. Since the 1990s, however, many philosophers have drawn on recent advances in cognitive psychology, brain science, and evolutionary psychology to inform their work. This collaborative trend is especially strong in moral philosophy, and these three volumes bring together some of the most innovative work by both philosophers and psychologists (...) in this emerging interdisciplinary field. The contributors to volume 2 discuss recent empirical research that uses the diverse methods of cognitive science to investigate moral judgments, emotions, and actions. Each chapter includes an essay, comments on the essay by other scholars, and a reply by the author of the original essay. Topics include moral intuitions as a kind of fast and frugal heuristics, framing effects in moral judgments, an analogy between Chomsky's universal grammar and moral principles, the role of emotions in moral beliefs, moral disagreements, the semantics of moral language, and moral responsibility. Walter Sinnott-Armstrong is Professor of Philosophy and Hardy Professor of Legal Studies at Dartmouth College. Contributors to volume 2: Fredrik Bjorklund, James Blair, Paul Bloomfield, Fiery Cushman, Justin D'Arms, John Deigh, John Doris, Julia Driver, Ben Fraser, Gerd Gigerenzer, Michael Gill, Jonathan Haidt, Marc Hauser, Daniel Jacobson, Joshua Knobe, Brian Leiter, Don Loeb, Ron Mallon, Darcia Narvaez, Shaun Nichols, Alexandra Plakias, Jesse Prinz, Geoffrey Sayre-McCord, Russ Shafer-Landau, Walter Sinnott-Armstrong, Cass Sunstein, William Tolhurst, Liane Young. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Our ability to acknowledge and recognise our own identity - our 'self' - is a characteristic doubtless unique to humans. Where does this feeling come from? How does the combination of neurophysiological processes coupled with our interaction with the outside world construct this coherent identity? We know that our social interactions contribute via the eyes, ears etc. However, our self is not only influenced by our senses. It is also influenced by the actions we perform and those we see others (...) perform. Our brain anticipates the effects of our own actions and simulates the actions of others. In this way, we become able to understand ourselves and to understand the actions and emotions of others. -/- This book is the first to describe the new field of 'Motor Cognition' - one to which the author's contribution has been seminal. Though motor actions have long been studied by neuroscientists and physiologists, it is only recently that scientists have considered the role of actions in building the self. How consciousness of action is part of self-consciousness, how one's own actions determine the sense of being an agent, how actions performed by others impact on ourselves for understanding others, differentiating ourselves from them and learning from them: these questions are raised and discussed throughout the book, drawing on experimental, clinical, and theoretical bases. -/- The advent of new neuroscience techniques, like neuroimaging and direct electrical brain stimulation, together with a renewal of behavioral methods in cognitive psychology, provide new insights into this area. Mental imagery of action, self-recognition, consciousness of actions, imitation can be objectively studied using these new tools. The results of these investigations shed light on clinical disorders in neurology, psychiatry and in neuro-development. -/- This is a major new work that will lay down the foundations for the field of motor cognition. (shrink)

This paper concerns how motor actions are neurally represented and coded. Action planning and motor preparation can be studied using a specific type of representational activity, motor imagery. A close functional equivalence between motor imagery and motor preparation is suggested by the positive effects of imagining movements on motor learning, the similarity between the neural structures involved, and the similar physiological correlates observed in both imaging and preparing. The content of motor representations can be inferred from motor images at a (...) macroscopic level, based on global aspects of the action and the motor rules and constraints which predict the spatial path and kinematics of movements. A more microscopic neural account calls for a representation of object-oriented action. Object attributes are processed in different neural pathways depending on the kind of task the subject is performing. During object-oriented action, a pragmatic representation is activated in which object affordances are transformed into specific motor schemas. Animal as well as human clinical data implicate the posterior parietal and premotor cortical areas in schema instantiation. A mechanism is proposed that is able to encode the desired goal of the action and is applicable to different levels of representational organization. (shrink)

I. Pragmatismus und Neukantianismus Marc Rölli: Die Durchquerung des Absoluten. Zur Hegel-Rezeption John Deweys Wolfgang Bonsiepen: Hegel und der Neukantianismus Matthias Wunsch: Phänomenologie des Symbolischen? Die Hegelrezeption Ernst Cassirers II. Phänomenologie - Ontologie - Lebensphilosophie Annette Sell: Das Geheimnis des Anfangs. Die Aufnahme des Hegelschen Anfangsbegriffs in der Philosophie Martin Heideggers Hans-Ulrich Lessing: Hegel und Helmuth Plessner: Die verpaßte Rezeption Walter Jaeschke: Der Geist und sein Sein. Nicolai Hartmann auf Hegelschen Wegen Holger Glinka: Aus Phänomenologie mach Dialektik. Jean-Paul (...) Sartres Anverwandlung Hegels III. Marxistische Tradition und kritische Theorie Andreas Arndt: Lenin liest Hegel Daniel Althof: Das "Geklapper der Triplizität" - Adornos Hegelrezeption Christoph J. Bauer: Mit Hegel gegen den 'Positivismus' - mit Hegel zum 'Wesen des Menschen'. Herbert Marcuses Interpretation der Hegelschen Urteilslehre IV. Postmoderne und Gegenwart Karin de Boer: Differenz: zwischen Hegel und Derrida Robert B. Pippin: Brandoms Hegel. (shrink)

In this volume, three aspects are examined: a) normal subjects, where new findings on spatial behavior are described. b) brain-lesioned subjects, where the ...

The idea that only complex brains can possess genuine representations is an important element in mainstream philosophical thinking. An alternative view, which I label ‘liberal representationalism’, holds that we should accept the existence of many more full-blown representations, from activity in retinal ganglion cells to the neural states produced by innate releasing mechanisms in cognitively unsophisticated organisms. A promising way of supporting liberal representationalism is to show it to be a consequence of our best naturalistic theories of representation. However, several (...) philosophers and scientists have recently argued against this strategy. In the paper I counter these objections in defense of liberal representationalism. (shrink)

Policy-makers must sometimes choose between an alternative which has somewhat lower expected value for each person, but which will substantially improve the outcomes of the worst off, or an alternative which has somewhat higher expected value for each person, but which will leave those who end up worst off substantially less well off. The popular ex ante Pareto principle requires the choice of the alternative with higher expected utility for each. We argue that ex ante Pareto ought to be rejected (...) because it conflicts with the requirement that, when possible, one ought to decide as one would with full information. We apply our argument in an analysis of US policy on screening for breast cancer. -/- . (shrink)

According to one widely held view, a belief is fully justified only if it holds up against the strongest available counterarguments, and we can be appropriately confident that it does hold up only if there is free and open critical discussion of those beliefs between us and our epistemic peers. In this paper I argue that this common picture of ideal rational group inquiry interacts with epistemic problems concerning reasonable disagreement in a way that makes those problems particularly difficult to (...) resolve. By focusing on this idealized context, we get a clearer picture of the epistemic principles at issue. In the end, I argue that the best way to resolve the resulting epistemic conflicts is by appeal to the underdetermination of theory by evidence together with a principle of epistemic conservatism. (shrink)

This volume contains a selection of nine essays with an interdisciplinary perspective. They were originally presented at the Sixth International Conference on Word and Music Studies, which was held at Edinburgh University in June 2007 and was organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on self-reference in various systematic, historical and intermedial ways. Self-reference - including, as a special case, metareference (the self-conscious reflection on music, literature and other medial concerns) (...) - is explored, among others, in instrumental music by Mozart, Mahler and Satie, in the structure and performance of (meta-)operas, in operatic adaptations of drama and filmic adaptations of opera, as well as in intermedial novelistic references to music. The essays cover a historical range from the 18th century to the present and are of interest to literary and opera scholars and students, musicologists as well as all readers generally interested in medial self-reference and intermediality studies. (shrink)