The aim of this article is to explore the ways and forms in which history is present, represented and used in Vygotsky’s theorizing. Given the fact that Vygotsky’s theory is usually described as a cultural-historical theory, the issue of history is necessarily implicated in the theory itself. However, there is still a gap between history as implicated in the theory and an explicit theorizing of history – both in Vygotsky’s writings and in Vygotskian scholarship. Therefore it is expected that it (...) would be fruitful to shed light on some possible pathways that can bridge this gap. The prevailing theoretical role of history in Vygotsky’s theory is to serve as a general framework which provides tools for the development of higher psychic functions. Thus, history is recognized as a formative context of psychic life. Further, history appears in Vygotsky’s writings also as a projected better future. All these uses of history presuppose an idea of history as linear progress. But Vygotsky also argues for a stronger epistemological claim – that history is the most powerful explanatory principle. After conceptual and theoretical reflection on history, some limitations of Vygotsky’s historicizing of the history of psychic development will be pointed out and related to general epistemological problems of historicizing. Finally, Vygotsky’s cultural-historical theory, an edifice built up in the 1930s but relying on the rich philosophical and psychological legacy available up to that time, will be positioned against the pluralistic, postmodern and hermeneutic turn in contemporary social and human sciences. (shrink)

The aim of this article is to explore the ways and forms in which history is present, represented and used in Vygotsky’s theorizing. Given the fact that Vygotsky’s theory is usually described as a cultural-historical theory, the issue of history is necessarily implicated in the theory itself. However, there is still a gap between history as implicated in the theory and an explicit theorizing of history – both in Vygotsky’s writings and in Vygotskian scholarship. Therefore it is expected that it (...) would be fruitful to shed light on some possible pathways that can bridge this gap. The prevailing theoretical role of history in Vygotsky’s theory is to serve as a general framework which provides tools for the development of higher psychic functions. Thus, history is recognized as a formative context of psychic life. Further, history appears in Vygotsky’s writings also as a projected better future. All these uses of history presuppose an idea of history as linear progress. But Vygotsky also argues for a stronger epistemological claim – that history is the most powerful explanatory principle. After conceptual and theoretical reflection on history, some limitations of Vygotsky’s historicizing of the history of psychic development will be pointed out and related to general epistemological problems of historicizing. Finally, Vygotsky’s cultural-historical theory, an edifice built up in the 1930s but relying on the rich philosophical and psychological legacy available up to that time, will be positioned against the pluralistic, postmodern and hermeneutic turn in contemporary social and human sciences. (shrink)

Compte tenu de l’importance de la symbolisation dans le développement individuel de l’homme, tout comme dans le développement historique de l’humanité, se pose la question de la transformation de la symbolisation dans les conditions postmodernes. L’objectif est de montrer que, derrière les carnavals postmodernes des signes et l’extase de la communication, une profonde désymbolisation du subjectif aussi bien que du social est en train de se produire. La conséquence de ces processus est la disparition des conditions de la possibilité de (...) réflexion et de la critique de la société. Ainsi, sous le slogan de la postmodernité, l’animal symbolicum devient l’animal desymbolicum, vivant dans un désert social, incapable de transcender son expérience locale puisqu’il a dissolu les concepts généraux et mis en danger l’ordre symbolique. Il semblerait qu’il soit tombé dans une amnésie historique et sociale profonde. (shrink)

Taking into account the significance of symbolization for human individual development, as well as for historical development of mankind, a question of transformations of symbolization under postmodern conditions has been raised. The aim is to show that behind the postmodern carnivals of signs and ecstasy of communication a deep desymbolization of the subjective as well of the social is occurring. As a consequence of such processes, conditions of possibility of reflection and social critique are disappearing. Thus, under the banner of (...) postmodernity, animal symbolicum is becoming an animal desymbolicum, living in a social desert, unable to transcend its local experience as it has dissolved general notions and endangered symbolic order. It seems it has fallen into a deep historical and social amnesia. (shrink)

Angesichts der konstitutiven Bedeutung der Symbolisierung sowohl für die individuelle Entwicklung des Menschen als auch für die historische Entwicklung der Menschengattung wird die Frage nach den Wandlungen der Symbolisierung in der Postmoderne gestellt. Es wird gezeigt, dass hinter dem postmodernen Karneval der Zeichen und Ekstase der Kommunikation eine tiefgreifende Desymbolisierung sowohl des Subjektiven als auch des Sozialen sich vollzieht. Als Folgen dieser Prozesse werden Bedingungen der Möglichkeit der Reflexion und gesellschaftlicher Kritik abgeschafft. Das animal symbolicum hat sich im Zuge der (...) Postmoderne schrecklicherweise in ein animal desymbolicum verwandelt, das in einer verwüsteten Gesellschaft lebt, das seine lokale Erfahrung nicht transzendieren kann, weil es die Begriffe aufgelöst hat und die symbolische Ordnung in Gefahr gebracht hat und nach allem, was es begangen hat, in eine tiefe historische und soziale Amnesie gefallen ist. (shrink)

Uzimajući u obzir značaj simbolizacije za individualni razvoj čovjeka, kao i za povijesni razvoj čovječanstva, postavlja se pitanje transformacija simbolizacije u postmodernim uvjetima. Cilj rada je pokazati da se iza postmodernih karnevala znakova i ekstaze komunikacije pojavljuje duboka desimbolizacija kako subjektivnog tako i onog društvenog. Posljedica tih procesa je nestajanje uvjeta mogućnosti refleksije i kritike društva. Stoga, pod parolom postmoderne, animal symbolicum postaje animal desymbolicum, živeći u društvenoj pustinji, u nemoći da transcendira svoje lokalno iskustvo budući da je rastvorio opće (...) pojmove i ugrozio simbolički poredak. Čini se da je upao u duboku povijesnu i društvenu amneziju. (shrink)

There are plausible academic as well as social indicators that qualitative research has become an indispensable part of the methodological repertoire of the social sciences. Relying upon the tenets of the qualitative approach which require a priority of subject matter over method and a necessary socio-historical contextualization, I reconstruct some aspects of a social history that have shaped the quantitative—qualitative dichotomy and the quantitative imperative; these include modern individualism, monological rationality, manufacture operating on the grounds of common human labour, mechanics (...) as the first science, quantification as a technology of distanced objectivity and a search for certainty realized at the expense of qualitative attributes. The so-called renaissance of the qualitative approach starting in 1960s, understood as a kind of a return of repressed qualities, is also socio-culturally contextualized. Both anthropogenetic and sociogenetic reconstructions as well as a microgenetic analysis of the research process demonstrate that choices of subject matter and of methodology are socially and culturally embedded and necessarily linked to broader interests and beliefs. (shrink)

Among ethicists and engineers within robotics there is an ongoing discussion as to whether ethical robots are possible or even desirable. We answer both of these questions in the positive, based on an extensive literature study of existing arguments. Our contribution consists in bringing together and reinterpreting pieces of information from a variety of sources. One of the conclusions drawn is that artifactual morality must come in degrees and depend on the level of agency, autonomy and intelligence of the machine. (...) Moral concerns for agents such as intelligent search machines are relatively simple, while highly intelligent and autonomous artifacts with significant impact and complex modes of agency must be equipped with more advanced ethical capabilities. Systems like cognitive robots are being developed that are expected to become part of our everyday lives in future decades. Thus, it is necessary to ensure that their behaviour is adequate. In an analogy with artificial intelligence, which is the ability of a machine to perform activities that would require intelligence in humans, artificial morality is considered to be the ability of a machine to perform activities that would require morality in humans. The capacity for artificial (artifactual) morality, such as artifactual agency, artifactual responsibility, artificial intentions, artificial (synthetic) emotions, etc., come in varying degrees and depend on the type of agent. As an illustration, we address the assurance of safety in modern High Reliability Organizations through responsibility distribution. In the same way that the concept of agency is generalized in the case of artificial agents, the concept of moral agency, including responsibility, is generalized too. We propose to look at artificial moral agents as having functional responsibilities within a network of distributed responsibilities in a socio-technological system. This does not take away the responsibilities of the other stakeholders in the system, but facilitates an understanding and regulation of such networks. It should be pointed out that the process of development must assume an evolutionary form with a number of iterations because the emergent properties of artifacts must be tested in real world situations with agents of increasing intelligence and moral competence. We see this paper as a contribution to the macro-level Requirement Engineering through discussion and analysis of general requirements for design of ethical robots. (shrink)

The second Yearbook of the Central East European Forum of Young Legal, Political and Social Theorists aims at reassessing some major legacies of jurisprudence and political philosophy, thereby celebrating one hundred years from the publication of the first important theoretical account of Hans Kelsen - Hauptprobleme der Staatsrechtslehre; the fifty-years anniversary of one of the most important contemporary books in legal theory - Herbert Hart's The Concept of Law; as well as the forty-years heritage of the most influential 20th century (...) account of justice - John Rawls's A Theory of Justice. On this occasion fourteen scholars from Eastern and Central Europe gave their accounts and interpretations of jurisprudential and political philosophical problems that persist or emerge anew in contemporary debates. (shrink)

My aim in this paper is to explore the appeal of contemporary television serial drama. I argue that there are four main aspects of serials that inspire viewers’ interest and long-term commitment: serials’ overall aesthetics, its narrative complexity, strong emotional pull and serious mimetic aspect. I analyse each of these and I show how each stimulates our more general interests and emotional dispositions, primarily those related to aesthetic reward, intellectual challenge, moral clarity and entertainment. My analysis shows how these four (...) elements unite and how their union inspires and maintains viewers’ long-term commitment to the show. In the process, I explore viewers’ emotional engagement with the characters, suggesting it is of secondary importance for their long-term commitment to the show. This commitment, I argue, is motivated by viewers’ sense of care for the work developed in response to its repeated providing of pleasurable stimuli. (shrink)

My aim in this article is to defend the view that art is a relevant source of knowledge, including moral knowledge, in the absence of empirical evidence corroborating this view. In the first part, I discuss what is known as the causal question, that is, the question regarding art's impact on spectators. I argue that the alleged failure of art to impact us may be a matter of moral motivation and the particular circumstances of moral reasoning more than the cognitive (...) and ethical character of a work. To support my claim, I rely on contemporary research on moral reasoning. I conclude by sketching a wider context within which we should consider art's impact, stressing the relevance of cognitive sciences and moral psychology. (shrink)

This article lies at the intersection of two problems: the one concerning the potential of fictional works to inform us about our social reality and foster our understanding of its various aspects, and the one concerning their potential to engage with philosophical issues. I bring these two together by analyzing the hit television series Law and Order: Special Victims Unit. According to my interpretation, the series is informative about our social world, and it raises philosophical concerns about it. This makes (...) it well-equipped to fulfill the educative function attributed to mass art by Noël Carroll, and to stand out as an example of what he calls popular philosophy. To support this interpretation, I rely on contemporary views regarding the nature of our engagements with fictional narratives. I then explore how philosophical concerns are generated and I elaborate on the role they have in deepening one’s understanding of one’s social circumstances. I further show how the series provides innovative and independent philosophical knowledge by means specific to the medium of generic serialized fiction. The central part of my argument is an analysis of the narrative strategies which enable the informative and philosophical aspects of the series to generate the series’ educative function. (shrink)

In order to show the validity of here proposed conception of social ontology and its advantages over descriptive theories of social reality, which in the analysis of the socio-ontological status of human rights find only legally understood normativity as present in social reality, we will first lay out Searle’s interpretation of human rights. In the second step, we will introduce the methodical approach and basic concepts of our socio-ontological position, and explain the structure of the relationship between justice, law, morality, (...) social institutions and collective intentionality. At the end we will show how our theory of social ontology is better than Searle’s legal positivism in examining the ontological status of human rights. At the end, we show in what ways such a theory of social ontology more intuitively and with wider arguments explains the ontological status of institution of human rights than Searle’s legal positivism. (shrink)

Die vorliegende Arbeit berücksichtigt die Philosophie und Poetik der Geschichte und der Sprache a priori im poetischen und literarischen Werk von Peter Handke, in seinem poetologischen Essay Ich bin ein Bewohner des Elfenbeinturms und seinem Drama Die Fahrt im Einbaum oder das Stück zum Film vom Krieg, und zwar im Ausgang von der kantianischen Idee der Apriorität der Geschichte. Die Geschichte a priori ist, laut Kant, möglich, „wenn der Wahrsager die Begebenheiten selber macht und veranstaltet, die er zum voraus verkündigt“. (...) Die identische Idee vom Subjekt, das vor der Geschichte besteht, finden wir auch im poetischen Werk von Peter Handke, sowohl in seinen poetologischen Schriften, als auch in seinem dichterischen Werk. Das Ziel der Arbeit ist, durch eine immanente, phänomenologisch-hermeneutische Deutung der Werke des Philosophen und des Schriftstellers die unumstrittene enge Beziehung zwischen ihren geschichtsphilosophischen, bzw. – poetologischen Ideen aufzuweisen und einen allgemeinen philosophisch-dichterischen Rahmen für die Erklärung aller Geschichtsphilosophien ohne Ausnahmen zu geben. (shrink)

Principle of equality of arms is part of fair trial concept, which encompasses several guarantees linked to the defence opportunities during the criminal procedure. The accused person is entitled to a fair trial. Balance of rights between the parties is bedrock for procedural fairness and the judge has to perform his competence in providing all necessary preconditions as for the trial to be fair. There are differences between interpretation and implementation of equality of arms in the jurisprudence of European court (...) on human rights and international criminal courts. Decisions of ECtHR are much more similar with domestic understanding of equality of arms as reasonable opportunity of the defence to present the case without disadvantages vis-à-vis the prosecutor, due to inherent inequity between the parties. When analyzing proceeding before the ad hoc Tribunals, there is “more liberal interpretation” of this principle, which allowed the Prosecutor to invoke equality of arms, as well. ICTY Trial Chamber in Aleksovski case concluded that application of the concept of a fair trial in favor of both parties is understandable because the Prosecution acts on behalf of and in the interests of the international community, including the interests of the victims of the offence charged and also has held that it is difficult to see how a trial could ever be considered to be fair where the accused is favored at the expense of the Prosecution. This interpretation has been justified with dependence of the international Tribunals on state cooperation and due to the fact that international criminal courts have no autonomous enforcement agencies at their disposal. Fortunately, ICC Statute considered equality of arms as solely afforded to the defence, or to the Prosecutor on the behalf of accused. (shrink)

In order to show the validity of here proposed conception of social ontology and its advantages over descriptive theories of social reality, which in the analysis of the socio-ontological status of human rights find only legally understood normativity as present in social reality, we will first lay out Searle’s interpretation of human rights. In the second step, we will introduce the methodical approach and basic concepts of our socio-ontological position, and explain the structure of the relationship between justice, law, morality, (...) social institutions and collective intentionality. At the end we will show how our theory of social ontology is better than Searle’s legal positivism in examining the ontological status of human rights. At the end, we show in what ways such a theory of social ontology more intuitively and with wider arguments explains the ontological status of institution of human rights than Searle’s legal positivism. (shrink)

Knʹ. 1. Pojam drzhave, drzhavne funkt︠s︡ije. -- knʹ. 2. Drzhavna organizat︠s︡ija, poratha drzhava.

1. Savremeni čovek, priroda i civilizacija -- 2. Rad i stvararanje, verovanje i znanje.

U odnosu filozofije i umjetnosti, metaforičko mišljenje ima poseban status. Od antičke retorike, metafora je bitna jezička figura. U prošlom stoljeću postaje modelom estetičkih i znanstvenih procesa spoznaje i stvaralaštva i teorijskih rasprava u znanosti o književnosti, filozofiji jezika i lingvistici, tj. o hermeneutičkim, jezičkoanalitičkim i strukturalističkim paradigmama. Zanimati će nas Grassijeva hermeneutika metafore. Dok Heidegger drži da je pretpostavka metaforičkog mišljenja tradicionalno razlikovanje osjetilnog i nadosjetilnog bića, tj. da pjesništvo nije metafora, Grassi ide drugim putom, zastupajući tezu da je (...) pjevanje pjesnika i sâmo povijesni bitak zapadnog čovjeka − tumačeći npr. ironički izraz u romantičara novim oblikom mišljenja. Slično Grassiju, i Ricoeur smatra da je Heideggerova upotreba metafore ipak važnija od onoga što usput govori protiv nje. (shrink)

In this paper I follow Ted Nannicelli in the project of establishing boundaries of television works. I focus on serialized television works pertaining to a particular genre and I set out to provide an account of their identity. My claim is that external identity of such works is determined by their specific genre-affiliation, given the way in which generic norms determine the content of the series, namely, its characteristic storylines and regular set of characters. From the internal perspective, a series’ (...) identity is determined by the particular way in which it implements abstract generic norms. I describe the process of such implementation as creation of series-specific formulaic patterns, and I analyze different layers of works where such patterns are evident. My central claim is that series-specific formulaic patterns create a coherent set of norms which, through repeated instantiation in the series’ episodes, become associated with that particular series. The function of this set is to establish the series’ boundaries, and to maintain its identity when different modifications to the patterns are made. (shrink)

Ova četiri teksta prilagođena su izlaganja o knjizi Gordane Bosanac "Utopija i inauguralni paradoks", održana prigodom njezina predstavljanja.Predstavljanje se, uz raspravu, odvijalo u Klubu sveučilišnih nastavnika u Zagebu 24. listopada 2005.These four contributions are adapted talks on Gordana Bosanac’s book Utopija i inauguralniparadoks, delivered on the occasion of its presentation.This presentation took place at the Croatian University Teachers’ Club in Zagreb on 24th October2005.

Agents and agent-based systems are becoming essential in the development of various fields, such as artificial intelligence, ubiquitous computing, ambient intelligence, autonomous computing, and intelligent robotics. The concept of autonomous agents, inspired by the observed agency in living systems, is also central to current theories on the origin, development, and evolution of life. Therefore, it is crucial to develop an accurate understanding of agents and the concept of agency. This paper begins by discussing the role of agency in natural systems (...) as an inspiration and motivation for agential technologies and then introduces the idea of artificial agents. A systematic approach is presented for the classification of artificial agents. This classification aids in understanding the existing state of the artificial agents and projects their potential future roles in addressing specific types of problems with dedicated agent types. (shrink)

This paper connects information with computation and cognition via concept of agents that appear at variety of levels of organization of physical/chemical/cognitive systems – from elementary particles to atoms, molecules, life-like chemical systems, to cognitive systems starting with living cells, up to organisms and ecologies. In order to obtain this generalized framework, concepts of information, computation and cognition are generalized. In this framework, nature can be seen as informational structure with computational dynamics, where an (info-computational) agent is needed for the (...) potential information of the world to actualize. Starting from the definition of information as the difference in one physical system that makes a difference in another physical system – which combines Bateson and Hewitt’s definitions, the argument is advanced for natural computation as a computational model of the dynamics of the physical world, where information processing is constantly going on, on a variety of levels of organization. This setting helps us to elucidate the relationships between computation, information, agency and cognition, within the common conceptual framework, with special relevance for biology and robotics. (shrink)

In this article, I defend the cognitive value of certain generic television series. Unlike media and television scholars, who have been appreciative of the informative capacity of television fiction, philosophers have been less willing to acknowledge the way in which these works contribute to our understanding of our social reality. My aim here is to provide one such account, grounded in aesthetic cognitivism, that is, the view that fiction is a source of knowledge. Focusing on crime and courtroom dramas, I (...) start by offering some examples of the cognitive benefits available in some of these series and I argue that the more beneficial cases establish superior mimetic relations with reality, enhancing their capacity to present ethically challenging issues. I then examine whether the fictional dimension of these works presents an obstacle to their informative potential and I conclude that it does not. A central aspect of my account is the claim that the degree of cognitive benefit depends on the underlying narrative strategy of the series. Specifically, there are clues in any given show, including the treatment of ongoing characters, which signal the extent to which it can be taken as mimetically reliable and thus, cognitively valuable. I complete my account by addressing anti-cognitivists’ arguments which call to doubt the informative aspect of television series and their capacity to address ethical concerns. (shrink)

Filozofija danas, kao i posljednjih desetljeća, u različitim varijantama raspravlja o utemeljenju i širini pojma pluralizma, multikulturalizma/transkulturalizma, mogućeg prihvaćanja drugačijeg i uopće o načinima posredovanja. Tim se povodom u tekstu želi skrenuti pažnja na tek djelomično recipirano djelo Ernesta Grassija. Prije svega riječ je o njegovom drugačijem tumačenju povijesti novovjekovne filozofije, raspravljanju o odnosu filozofije i kulture i trajnom naporu u premošćivanju i međusobnom upućivanju talijanske i njemačke filozofije, te otvorenosti prema drugim kulturama.Grassi je zastupao stajalište da susret sa stranim (...) i drugačijim traži situaciji primjerene teorijske i praktičke odgovore, otvaranje izvornosti onoga što nam pridolazi kao novo. Teorijska otvorenost iskustvu drugačijih svjetova, provlačenje kroz doživljaj drugačijeg što posebno iskazuje u svojim «južnoameričkim meditacijama», ujedno je za njega propitivanje samorazumljivosti europskog iskustva i europskog tumačenja prostora, vremena, umjetnosti…Pitanje je stoga koliko Grassi, koji je kao metodu spoznaje zastupao znanstvene razgovore što uključuju individualnu, historijsku situaciju i interakciju sudionika u aktualnoj govornoj situaciji, i danas može biti zanimljiv sugovornik. Takav njegov pristup utemeljen je na tumačenju zbiljnosti polazeći od jezika, što uključuje kritiku metafizike.For several decades now, philosophy has and is attempting various approaches to the foundationand scope of pluralism, multiculturalism/transculturalism, possible ways to accepting the different,and general means of mediation. In response, this article deals with the partially received work ofErnesto Grassi – in particular, his singular interpretation of the history of modern age philosophy,his discussion on relations between philosophy and culture, his ongoing effort to bridge the differencesand refer to each other the German and the Italian philosophy, his receptiveness to othercultures.Ernesto Grassi supported the view that encounters with the strange and the different call for appropriatetheoretical and practical responses, a receptiveness to genuineness of what one approaches asnew. For him, the theoretical receptiveness to experiencing different worlds, the involvement in thedifferent that he particularly expresses in his »South American meditations«, is also the means ofquestioning the taking for granted of the European experience and its interpretation of essentialssuch as space, time, and art.It remains a question to what extend is Grassi, who viewed a scientific exchange – with its individual,historical context and the interaction of the participants in the current conversational act – asa cognitive method, still an interesting conversationalist today. He builds this approach upon interpretationof reality from the point of language, which includes a criticism of metaphysics. (shrink)

Danilo Pejović je na Odsjeku za filozofiju, nakon Milana Kangrge, predavao estetiku od početka šezdesetih do početka sedamdesetih godina, kada je tu Katedru preuzeo Danko Grlić, zajedno s kojim je preveo Heideggerov tekst O bîti umjetnosti .U Pejovićevu promišljanju umjetnosti Heidegger je, kao i hermeneutika, bio glavni orijentir u razumijevanju umjetničkog djela preko paradigme jezika i u tom je kontekstu u suvremenoj filozofiji umjetnosti, posebno ukazujući i na značaj ekspresionizma, istraživao odnos umjetnosti i prirode, tehnike, oblika, zbiljnosti, osjećajnosti, razumljivosti i (...) slobode. Raspravljanje o mogućnosti umjetnosti Pejović uvijek postavlja u epohalni kontekst, ustvrđujući da je nakon smrti Goethea i Hegela umro i jedan svijet, koji s oscilacijama seže sve do Homerova doba, a Marx samo radikalizira Hegelovo pitanje o tome čemu još umjetnost,da bi se ono nakon Marxa, u doba tehnike, još više zaoštrilo.Pejović zastupa tezu da bez pojma slobode ne možemo dospjeti do toga što jest umjetnost, a živeći u svijetu prepunu oblika uništavanja ljudske slobode, gube se osjećajnost i ljepota kao pripadne umjetnosti.Danilo Pejović hat nach Milan Kangrga an der Abteilung für Philosophie vom Beginn der Sechziger bis zum Beginn der Siebziger Jahren Vorlesungen über die Ästhetik gehalten, als diesen Lehrstuhl Danko Grlić übernahm, mit wem er Heideggers Werk Der Ursprung des Kunstwerkes übersetzte.In Pejovićs Bedenken der Kunst war Heidegger neben der Hermeneutik der Hauptorientierungspunkt im Verstehen des Kunstwerkes mittels Sprachparadigma, und in diesem Kontext in der zeitgenössischen Kunstphilosophie, mit der besonderen Betonung auf die Wichtigkeit des Expressionismus, hat er die Beziehung zwischen Kunst und Natur, Technik, Formen, Wirklichkeit, Sensibilität, Verständlichkeit und Freiheit erforscht. Die Erörterung über die Möglichkeit der Kunst wird von Pejović immer in den Epochen-Kontext gesetzt, mit der Behauptung, dass nach Goethes und Hegels Tod eine Welt, die mit den Schwankungen noch vom Homers Zeitalter dauerte, gestorben ist, und Marx radikalisiert Hegels Frage darüber, warum noch die Kunst, nur dass diese Frage im Zeitalter der Technik nach Marx immer mehr verschärft wurde.Pejović vertritt die These, dass man ohne den Begriff der Freiheit das Wesen der Kunst nicht erreichen kann, und Leben in der Welt, die voll von Vernichtung der Freiheit der Menschen ist, führt zur Verlust der Sensibilität und Schönheit als angehöriger Kunst. (shrink)