The Anthropocene, as a geological and biological fact, is a baroque moment insofar as it is the meeting with an uncertain outcome between two irreconcilable truths. The truth hitherto considered as such, classic, is put in doubt by another truth, without this one being able to impose itself. The awareness of this confrontation, irreconcilable for the moment, favors in the human species a spectacular and rhetorical political action, that is to say baroque.

The performance and the success of a group working as a team on a common goal depends on the individuals’ skills and the collective coordination of their abilities. On a perceptual level, individual gaze behavior is reasonably well investigated. However, the coordination of visual skills in a team has been investigated only in laboratory studies and the practical examination and knowledge transfer to field studies or the applicability in real-life situations have so far been neglected. This is mainly due to (...) the fact that a methodological approach along with a suitable evaluation procedure to analyze the gaze coordination within a team in highly dynamic events outside the lab, is still missing. Thus, this study was conducted to develop a tool to investigate the coordinated gaze behavior within a team of three human beings acting with a common goal in a dynamic real-world scenario. This team was a basketball referee team adjudicating a game. Using mobile eye-tracking devices and an indigenously designed software tool for the simultaneous analysis of the gaze data of three participants, allowed, for the first time, the simultaneous investigation of the coordinated gaze behavior of three people in a highly dynamic setting. Overall, the study provides a new and innovative method to investigate the coordinated gaze behavior of a three-person team in specific tasks. This method is also applicable to investigate research questions about teams in dynamic real-world scenarios and get a deeper look at interactions and behavior patterns of human beings in group settings. (shrink)

GoalThis paper presents an immersive Virtual Reality system to analyze and train Executive Functions of soccer players. EFs are important cognitive functions for athletes. They are a relevant quality that distinguishes amateurs from professionals.MethodThe system is based on immersive technology, hence, the user interacts naturally and experiences a training session in a virtual world. The proposed system has a modular design supporting the extension of various so-called game modes. Game modes combine selected game mechanics with specific simulation content to target (...) particular training aspects. The system architecture decouples selection/parameterization and analysis of training sessions via a coaching app from an Unity3D-based VR simulation core. Monitoring of user performance and progress is recorded by a database that sends the necessary feedback to the coaching app for analysis.ResultsThe system is tested for VR-critical performance criteria to reveal the usefulness of a new interaction paradigm in the cognitive training and analysis of EFs. Subjective ratings for overall usability show that the design as VR application enhances the user experience compared to a traditional desktop app; whereas the new, unfamiliar interaction paradigm does not negatively impact the effort for using the application.ConclusionThe system can provide immersive training of EF in a fully virtual environment, eliminating potential distraction. It further provides an easy-to-use analyzes tool to compare user but also an automatic, adaptive training mode. (shrink)

El texto expone diversos modos de articular las nociones de tradición y modernidad en el arte y la arquitectura según los contenidos aparecidos en el número 11 de la Revista de Arte dedicado a Argentina. El análisis se centra en dos artículos. El primero: “Emilio Pettoruti: brújula de la pintura argentina”, de Leonardo Estarico. El segundo: “América y la nueva arquitectura”, de Martín Noel. Mientras Estarico postula los conceptos de forma y de plástica como territorios universales, Noel establece al continente (...) americano como fuente para el arte y la arquitectura local. (shrink)

This chapter critically explores the notion of medium specificity both in its classical form, as represented by figures such as Rudolf Arnheim and André Bazin, and in its current revised versions as proposed by philosophers such as Berys Gaut, Dominic Lopes, and Ted Nannicelli. The thesis of this entry is that the idea of medium specificity is flawed in all of its variations.

Born in Posen in 1905, Jean Gebser came from an old Franconian family domiciled in Thuringia since 1236. A nephew of German chancellor von Bethmann-Hollweg, he was a descendant on his mother's side of Luther's friend Melanchthon. He was educated in Breslau, Konigsberg, Rossleben, and at the University of Berlin. In 1929 Gebser emigrated to Italy and subsequently lived in Spain where he was attached to the Ministry of Education of the Spanish Republic. From 1937-1939 he lived in Paris in (...) the circle which included Picasso, Andre Malraux, Paul Eluard, and Louis Aragon. In 1939 he made his permanent home in Switzerland where he became a citizen in 1951. For many years Gebser was Lecturer at the Institute of Applied Psychology in Zurich and was later appointed honorary Professor of Comparative Studies of Civilization at the University of Salzburg, Austria. For his many publications, including books on Rilke, his friend Federico Garcia Lorca, recent developments in the sciences, East-West relations, evolution, and twentieth century civilization and its antecedents, Gebser received several prizes, including a share of the German Schiller prize, the literary award of the Esslingen Artist's Guild, the Koggen prize of the City of Minden, and the literary award of the City of Berne. He died in Berne on May 14, 1973.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 535 eluded. Have Straussians proved that there is no higher human knowledge than philosophy? One hopes that they will meet their critics, because Stmussians are deeply serious men and women, and we can all learn from their mentor. Hillsdale, College Hillsdale, Michigan D. T. ASSELIN Philosophical Problems of Classical Film Theory. By NOEL CARROLL. Princeton, N.J.: Princeton University Press, 1988. Pp. 268. This book is a provocative, (...) clearly written, and carefully argued presentation of a philosophical critique of traditional film criticism. If film is taken as a serious art form, one which can stand alongside of music, painting, theatre, and literature, then Carroll's book is a good example of the type of philosophical study that is needed. Assistant professor of philosophy at Wesleyan University, Carroll knows the world of film well and attacks with vigor what he takes to be erroneous in traditional film criticism. His three targets are the film theories of Rudolf Arnheim, Andre Bazin, and V. F. Perkins. It would be difficult to overemphasize the influence of Arnheim and Bazin on the history of the aesthetics of film: each man is a giant in the history of theorizing about film. Though much less influential, Perkins does present an mteresting view of film. Philosophical Problems of Classical Film Theory consists of an introduction, three central chapters, and a conclusion. Each of the three chapters is devoted to one of the film theorists, and each chapter begins with an explanation of the theory being discussed. In trying to present the theory in its strongest form, Carroll includes a detailed discussion of its historical setting, and this makes its contextual importance clear. But most of each chapter is devoted to criticism of the theory iii question. Thinking of film theories as a series of answers to abstract questions, Carroll suggests that Arnheim, Bazin, and Perkins address the same central questions and expect the answers to these questions to be related logically in the same way. Carroll lists three questions that he thinks suggest a similar structure in the three theories he is studying: " What is the determinant or special feature of film? What is the value or role of cinema? What are the processes of articulation in film in relation to the previous two answers? " Concerning the answers to these questions Carroll writes 586 BOOK REVIEWS Most classical film theories-including those of Amheim, Bazin, and Perkins-relate answers to the three basic questions in the following way: the determinant characteristic stands to the role of cinema as a means to an end, while the articulatory processes are assessed as instances of the determinant characteristic of cinema (pp. 14-15). Arnheim represents an early type of film theorizing which Carroll names the silent-film paradigm. Those who embrace this approach, and Carroll would include the Soviet montagists of the twenties such as Sergei Eisenstein, insist that film is not merely a record of reality but rather manipulates reality expressively. Though Arnheim wrote after sound had entered film, he disdained talkies and looked back to silent film to discover the paradigm of film. Carroll's treatment of Arnheim relies on the latter's 1957 Film As Art, which is a condensed version of his 1933 book Film. The 1957 condensation can he considered the authoritative articulation of Arnheim's position. The prejudice against cinema in its early days derived from the fact that a major constituent of film was photography. Many felt that photography could not be an art form because it was merely a copying process. Arnheim's theory can be called creationist because he successfully showed how cinema could be creative in capturing and re-presenting reality. Arnheim showed that film transcends the simple viewpoint that simple recording implies. Carroll summarizes Arnheim's view: In summary, Arnheim holds that one role of filmmaking-the one that concerns him-is art. He also contends that the determinant characteristics of the medium-those relevant to the purpose of art makingare the various ways that the medium diverges from the mechanical duplication of reality, and finally, Arnheim spends the bulk of Film As Art on lengthy examinations of the various modes of cinematic articulalation, in order to demonstrate... (shrink)

Social constructionists maintain that we invent the properties of the world rather than discover them. Is reality constructed by our own activity? Do we collectively invent the world rather than discover it? André Kukla presents a comprehensive discussion of the philosophical issues that arise out of this debate, analysing the various strengths and weaknesses of a range of constructivist arguments and arguing that current philosophical objections to constructivism are inconclusive. However, Kukla offers and develops new objections to constructivism, distinguishing (...) between the social causes of scientific beliefs and the view that all ascertainable facts are constructed. (shrink)

Social constructivists maintain that we invent the properties of the world rather than discover them. Is reality constructed by our own activity? Or, more provocatively, are scientific facts--is everything --constructed? Social Constructivism and the Philosophy of Science is a clear assessment of this critical and increasingly important debate. Andre Kukla presents a comprehensive discussion of the philosophical issues involved and analyzes the strengths and weaknesses of a range of constructivist arguments, illustrating the divide between the sociology and the philosophy of (...) science through examples as varied as laboratory science, time, and criminality. He argues that current philosophical objections to constructivism are drastically inconclusive, while offering and developing new objections. Throughout, Kukla distinguishes between the social causes of scientific beliefs and the view that all ascertainable facts are constructed. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

Moral reasoning typically informs environmental decision-making by measuring the possible outcomes of policies or actions in light of a preferred ethical theory. This method is subject to many problems. Environmental pragmatism tries to overcome them, but it suffers also from some pitfalls. This paper proposes a new method of environmental pragmatism that avoids the problems of both the traditional method of environmental moral reasoning and of the general versions of environmental pragmatism. We call it 'justificatory moral pluralism' - it develops (...) the intuition that normative ethical theories need not be mutually exclusive. This leaves room for important forms of pluralist environmental ethics that do not require a once-and-for-all prior commitment to an ethical theory when deciding about policies or courses of action related to the protection of the environment. Justificatory moral pluralism offers a viable solution to the recurrent conflicts between efficient environmental decisions and the need for moral reasoning. (shrink)

“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...) the constitutive purposes of artworks, regards the artwork as typically singular. For that reason, it follows that this approach is pluralistic in contrast to the hedonic conception of the taste model popularized in the eighteenth century and which still recurs today, if sometimes only subconsciously, and that reduces critical evaluation to feelings of pleasure. I argue that the hedonic taste model, which is noncognitive and reductive, should be abandoned in favor of one that is cognitivist and pluralistic, namely, the purpose-driven approach. (shrink)

A questão dos letramentos e da inovação demonstram-se fundamentais em períodos históricos como o atual, onde as práticas de ensino-aprendizagem tornam-se cada vez mais complexas, que requerem novas abordagens teóricas para compreendermos possibilidades alternativas de ensino. Tendo estas questões em mente, este artigo visa indicar relações possíveis entre o antifundacionismo, o pensamento de Paul Feyerabend e os letramentos científicos. Em um primeiro momento indicaremos questões relativas ao antifundacionismo, e em seguida verificaremos como tal questão se efetiva no pensamento de Feyerabend. (...) Finalizaremos avaliando como esta abordagem pode fundamentar novas práticas educacionais. (shrink)

nombreux textes inédits André Robinet. 2. LE SECOND MEMBRE DE LA DISJONCTION ARCHITECTONIQUE (D2): LES AUTOMATES SYSTÉMIQUES ( 1686-1716) Le discours leibnizien dans (v>4) emprunte la voie d'une communication qui ...

In lieu of an abstract, here is a brief excerpt of the content:Was Hume An Atheist? Shane Andre Hume's philosophy of religion, as expressed in the Dialogues Concerning Natural Religion, the Natural History of Religion, and sections 10 and 11 ofthe Enquiry ConcerningHuman Understanding,1 invites a number of diverse interpretations. At one extreme are those who see Hume as an "atheist"2 or "anti-theist."3 At the other extreme are those who see Hume as some kind of theist, though not a classical (...) or orthodox one.4 In between are others for whom Hume is an "agnostic* or "ironic skeptic."6 Still a fourth interpretation can be found, according to which Hume "seems to vacillate hopelessly" in his view ofreligion;7 in other words, no coherent philosophy ofreligion can be found in his work and so it is futile to look for one. Ofthe four alternatives, it seems to me that the fourth, being less interesting philosophically and less to Hume's credit as a major philosopher, should be rejected unless by default no coherent case can be made for one of the other three. Since I believe that Hume's views about the nature and existence of God are complex, somewhat unconventional, but still coherent, I will concentrate on the title question. Before tackling that question directly, however, we need to clarify the meaning of the term "atheist" and its cognates. While an atheist is popularly defined as one who does not believe in God, this definition is inadequate for two reasons. First, while the absence of belief is sometimes treated as a synonym for disbelief, it is clear that the two are not the same. An infant does not believe in God, but that does not make him an atheist,8 for, as yet, he does not have the linguistic competence to reflect on the question, Does God exist? Neither is the agnostic an atheist, for, though he has reflected on the question, he has not found reason to answer it affirmatively, Uke the theist, or negatively, like the atheist. For this reason, the atheist must be characterized more strongly, as one who disbelieves that God exists. But even this stronger characterization is insufficient, for, as is well-known but perhaps less widely takeninto account, there are many different conceptions ofGod, ranging from monotheism to polytheism, from beUef in a perfect being to belief in a being who shares some human limitations, from deism to pantheism, and so on. Accordingly, it has become commonplace in philosophy to recognize at least two senses ofthe term "God": a narrow sense, signifying "a supremely good being, creator of but separate from and independent of the world, omnipotent, omniscient, eternal and self-existent";9 and a wide sense, Volume XLX Number 1 141 SHANE ANDRE signifying one or more divine beings, personal or otherwise, manifesting extraordinarybut perhaps not superlative properties. For short, we could call the narrow sense the standard concept ofGod, and beliefin the existence ofsuch a being standard theism.10 And we could call the broad sense, applicable to any concept of the divine, the extended concept of God, and belief in the existence of such a being(s) extendedtheism. On this account, standard theists will alsobe extended theists, but of course someone could be an extended theist without being a standard theist. Let us call such a person (for example, Epicurus, who denied, not that the Gods exist, but that they intervene in human affairs) a limited theist. It is important to note that the limited theist rejects standard theism but is not an atheist simpliciter. How does recognition of these different forms oftheism affect our understanding of atheism? There seem to be two major possibilities. One is to characterize atheism in the narrow sense as disbeUef in standard theism; the other is to characterize it in the broad sense as disbeliefin any form of theism, including limited theism. While either option is open, it seems to me that the latter is preferable. For ifwe say that anyone who rejects standard theism is an atheist, we will end up with the paradoxical result that many distinguished theists will turn out to be atheists. For example, while Charles Hartshorne is not a standard theist, insofar as he rejects the... (shrink)

We listen to a cacophony of voices instructing us how to think and feel about nature, including our own bodies. The news media, wildlife documentaries, science magazines, and environmental NGOs are among those clamouring for our attention. But are we empowered by all this knowledge or is our dependence on various epistemic communities allowing our thoughts, sentiments and activities to be unduly governed by others? Drawing on over 30 years on research into the 'social constitution of nature', Making Sense of (...) Nature shows that what we call 'nature' is made sense of for us in ways that make it central to social order, social change and social dissent. By utilising insights and extended examples from anthropology, cultural studies, human geography, philosophy, politics, sociology, science studies, this interdisciplinary text asks whether we can better make sense of nature for ourselves, and thus participate more meaningfully in momentous decisions about the future of life - human and non-human - on the planet. This book shows how 'nature' can be made sense of without presuming its naturalness. The challenge is not so much to rid ourselves of the idea of nature and its 'collateral concepts' (such as genes) but instead, we need to be more alert to how, why and with what effects ideas about 'nature' get fashioned and deployed in specific situations. (shrink)

Mit seiner Theorie der vernünftigen Übereinkunft liefert André Olbrich die Grundlegung eines Kriteriums für moralische Urteile über richtig und falsch: Im Anschluss an klassische und moderne Vertragstheoretiker wird die Akzeptanz eines Urteils durch die Betroffenen zum obersten Rechtfertigungsmaßstab erhoben. Das vertragstheoretische Denken wird weiterentwickelt und konsequent als umfassende normative Theorie ausformuliert. Die Leserinnen und Leser erfahren, von welchem Standpunkt aus sich die Regeln unseres sozialen Miteinanders einer Kritik unterziehen lassen und auf welchen moralischen Grundlagen Recht und Politik aufbauen.

Far from being haphazard, Merleau-Ponty’s 1945 essay on cinema and 1953 notes on cinema for the lectures at the Collège de France are a precursor of a genuine phenomenology of cinema. Accordingly, in this paper I shall demonstrate that a phenomenology of movement and space tacitly appears in films, since cinema is the art of motion on screen and therefore the art of intersubjectivity par excellence. Moreover, I show that Merleau-Ponty’s ontological conception of the chiasm between the visible and the (...) invisible resembles the interlacing of the “two spaces” mentioned by Noël Burch. Likewise, the interpretation of the world as the “something else” that is simultaneously present and absent in every appearance corresponds, in cinema, to Alain Bergala’s “présence in absentia” of the off-screen on the screen – i.e., to the opening up of off-screen space by means of eyeline match and characters exiting and entering the frame. I finally claim that the use both of long take and depth of field, as analysed by film theorist André Bazin, and of specific camera movements, as analysed by neuroscientist Vittorio Gallese, preserves the continuity of reality and give the impression that the film is a perceptual experience that happens within reality’s space-time continuum.Loin d’être incohérent, l’essai de 1945 de Merleau-Ponty sur le cinéma et ses notes sur le cinéma pour son cours au Collège de France en 1953 sont les précurseurs d’une vraie phénoménologie du cinéma. Dans ce texte, je démontre qu’une phénoménologie du mouvement et de l’espace apparaît tacitement dans les films puisque le cinéma est l’art du mouvement à l’écran et par conséquent l’art de l’intersubjectivité par excellence. Par ailleurs, je montre que la conception ontologique de Merleau-Ponty du chiasme entre le visible et l’invisible ressemble à l’entrelacement des « deux espaces » mentionnés par Noël Burch. De même, l’interprétation du monde comme le « quelque chose d’autre » simultanément présent et absent dans toute apparition correspond, au cinéma à la « présence in absentia » du hors champ dans le champ d’Alain Bergala – à savoir l’ouverture de l’espace du hors champ par la technique du eyeline match et des personnages qui entrent et sortent du cadre. Je soutiens enfin que l’usage à la fois du plan long et de la profondeur de champ, analysés par le théoricien du cinéma André Bazin, ainsi que de mouvements spécifiques de caméra, analysés par le neuroscientifique Vittorio Gallese, préserve la continuité de la réalité et donne l’impression que le film est une expérience perceptive qui se produit à l’intérieur du continuum de l’espace temps de la réalité.Lungi dall’essere interventi estemporanei, i saggi di Merleau-Ponty sul cinema del 1945 e le sue note sul cinema per il corso al Collège de France del 1953 sono precursori di un’autentica fenomenologia del cinema. In questo articolo intendo mostrare come nei film si delinei tacitamente una fenomenologia del movimento e dello spazio, poiché il cinema è l’arte del movimento sullo schermo e per eccellenza l’arte dell’intersoggettività. Inoltre, intendo mettere in luce come la concezione ontologica merleau-pontyana del chiasma di visibile e invisibile si accosti all’intreccio dei “due spazi” menzionati da Noël Burch. In modo analogo, considererò l’interpretazione del mondo come il “qualcos’altro” che è al contempo presente e assente in ogni apparizione come corrispondente, nel cinema, a quella che Alain Bergala definisce la presenza “in absentia” del fuori campo sullo schermo, ossia all’apertura dello spazio fuori campo per mezzo del raccordo sullo sguardo e dell’ingresso e dell’uscita dei personaggi rispetto all’inquadratura. Infine, sosterrò che tanto l’impiego del long take e della profondità di campo, descritti dal teorico del cinema André Bazin, quanto l’uso di specifici movimenti di macchina, analizzati dal neuroscienziato Vittorio Gallese, preservino la continuità del reale e forniscano l’impressione che il film sia un’esperienza percettiva che si svolge entro il continuum spazio-temporale della realtà. (shrink)

This paper deals with the mutations in Wittgenstein’s treatment of the notions of “generality” and of “singularity”, from his first philosophy, in the Tractatus Logico-Philosophicus, to his later mature philosophy represented by the Philosophical Investigations. As we shall see, Wittgenstein’s philosophical handling of the notion of “visual perception” plays a key role in those conceptual transformations.

_ Source: _Volume 30, Issue 1, pp 4 - 27 The _Animadversiones in Elementorum Philosophiae_ by a little known Flemish scholar G. Moranus, published in Brussels in 1655 was an early European response to Hobbes’s _De Corpore_. Although it is has been referred to by various Hobbes scholars, such as Noel Malcolm, Doug Jesseph, and Alexander Bird it has been little studied. Previous scholarship has tended to focus on the mathematical criticisms of André Tacquet which Moranus included in the (...) form of a letter in his volume. Moranus’s philosophical objections to Hobbes’s natural philosophy offer a fascinating picture of the critical reception of Hobbes’s work by a religious writer trained in the late Scholastic tradition. Moranus’s opening criticism clearly shows that he is unhappy with Hobbes’s exclusion of the divine and the immaterial from natural philosophy. He asks what authority Hobbes has for breaking with the common understanding of philosophy, as defined by Cicero ‘the knowledge of things human and divine’. He also offers natural philosophical and theological criticisms of Hobbes for overlooking the generation of things involved in the Creation. He also attacks the natural philosophical underpinning of Hobbes’s civil philosophy. In this paper I look at a number of philosophical topics which Moranus criticised in Hobbes’s work, including his mechanical psychology, his theory of imaginary space, his use of the concept of accidents, his blurring of the distinction between the human being and the animal, and his theories of motion. Moranus’s criticisms, which are a mixture of philosophical and theological objections, gives us some clear indications of what made Hobbes’ natural philosophy controversial amongst his contemporaries, and sheds new light on the early continental reception of Hobbes’s work. (shrink)

Trata-se de capítulo de um livro sobre a noção de "substância" na história da filosofia e contém uma discussão sobre a noção ordinária de "corpo" do ponto de vista da filosofia analítica.

This handbook of Anabaptism and Spiritualism provides an informative survey of recent scholarship on the Radical Reformation, from the 1520s to the end of the eighteenth century. Each chapter offers a narrative summary that engages current research and suggests directions for future study.

In “Movies, Narrative and Emotion” there is an attempt to suggest the ways in which a certain form of narrative organization, to which we can call “erotetic narration,” This can be co-ordinated with the emotional address of the motion picture in terms of what can be called “criterial prefocusing.” On this view, the primary way in which the emotions are engaged is character-directed, the protagonist’s goals providing grounds which generate the narrative questions that the movie goes on to answer.

The objective of this article is to try to elucidate Wittgenstein’s ex-travagant thesis that each and every mathematical advancement involves some “semantical mutation”, i.e., some alteration of the very meanings of the terms involved. To do that we will argue in favor of the idea of a “modal incompati-bility” between the concepts involved, as they were prior to the advancement, and what they become after the new result was obtained. We will also argue that the adoption of this thesis profoundly (...) alters the traditional way of con-struing the idea of “progress” in mathematics. (shrink)

We consider motivations for acknowledging that people participate in multiple levels of economic agency. One of these levels is characterized in terms of subjective utility to the individual; another, frequently observed, level is characterized in terms of utility to social groups with which people identify. Following Bacharach, we describe such groups as ‘teams’. We review Bacharach’s theory of such identification in his account of ‘team reasoning’. While this conceptualization is useful, it applies only to processes supported by deliberation. As this (...) is only one of a range of causal mechanisms underlying behaviour by humans and other strategic agents, a more general account is desirable. We then argue that Stirling’s account of ‘conditional games’ achieves the desired generalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:370 HISTORY OF PHILOSOPHY Leibniz. By Edmondo Clone. (Napoli : Libreria scientifica editrice. Pp. 540. L.4.000.) L'ouvrage d'E. Cione est une presentation d'ensemble de l'oeuvre de Leibniz. L'auteur situe d'abord Leibniz dans son milieu culturel et dans son ambiance historique. Puis il aborde les probl~mes relatifs ~ la monade et ~ l'univers. Une troisi~me partie traite du choix divin, du real et des possibles. La quatri~me s'attache au difficile (...) probl~me de la liberte~ en Dieu et dans l'homme. Enfin, Clone precise queles sont et doivent ~tre les activite~s de l'homme dans los domaines de la logique, de la morale, de l'esth~tique, de la religion. Par consequent, ne serait-que par l'ampleur des mati~res ~tudi~es, on dispose ici d'une vaste fresque qui met en place l'ensemble des preoccupations philosophiques de Leibniz, et qui d~ploie son ~ventail en un certain sens, disons celui de la Monadologie, toute entree dans la philosophie de Leibniz ~tant bonne, pourvu, si j'ose dire, qu'on en sorte. Or, on en sort, car l'au~eur appuie ses connaissanc~s sur une pratique quotidienne des ~extes de Leibniz, sur une documentation de premiere main qui lui fair honneur, sur une somme de lectures [eibniziennes qui l'aident s orienter son dessein. Cet ouvrage repose sur l'humus fertile d'un vaste savoir technique et livresque concernant la philosophic de Leibniz. I1 est donc, de ce point de vue, document~ avec pr4cision, et il atteint le fond des probl~mes abord4s. Enfin, rauteur ne perd pas ses propres droits dans cette ~tude, et pr4cise d'un oeil vigilant quelles sont es d4fectuositds de cette pens4e, qui n'a sa pleine signification que si on ne la coupe pas de sos racines th4ologiques. I1 semble que lh, le destin de Leibniz diff~re de celui de Clone, puisque, pour ce dernier, le philosophe d'Hanovre ne parvient pas ~ p4n~trer le sens profond de la r~alit(~ spirituelle, c'est-h-dire de la libert4 de l'homme. ANDRE ROBINET Orldans, France David Hume: Prophet o] the Counter-Revolution. By Laurence L. Bongie. (Oxford University Press, 1965. Pp. xvii + 182.35s.) This excellent work uncovers and analyzes the amazing influence of Hume's historical and political views on the world of late 18th-century France. First Professor Bongie admirably recounts the immense impact of Hume's History o] England in France when it originally appeared. The work was wildly praised by French royalty, by the philosophes, by Catholic intellectuals, by almost everyone except the Huguenot exiles. Hume's alleged impartiality and philosophical approach made him for France of the time, the finest historian of the age, the new Tacitus. Everyone found great profundity in the History, and each group managed to overlook those aspects of Hume's views that conflicted with their own outlook, and stressed those aspects that fitted in with their own predilections. it was Turgot who apparently first realized that Hume was not the zeal hero of those who were to transform France, and that Hume's political philosophy and his picture of human nature "glean'd" through the study of history were hardly in accord with the theories of the reformers and the future revolutionists. In their correspondence, Hume and Turgot revealed the enormous gulf that separated them, the latter believing in the endless perfectibility of mankind, the former, much more sceptical and much readier to accept man in his historical condition. For Hume, there was always a struggle between order and liberty, and dangers on both sides with no ideal solution in sight, while for the optimistic Turgot a new and better world was just around the corner. What Turgot saw as their differences became clearer a few years later to moderates like Mirabeau, Mably and Brissot. Hume, for them, did not really see the importance of liberty, the fundamental rights of man, the real lessons of History. The moderates began boosting, translating and commenting on an antidote to Hume's History, the liberal Whig version of English history by Catherine Macaulay-Graham, a work finally published in French under Mirabeau... (shrink)

We present an empirical case study that connects psycholinguistics with the field of cultural evolution, in order to test for the existence of cultural attractors in the evolution of quotations. Such attractors have been proposed as a useful concept for understanding cultural evolution in relation with individual cognition, but their existence has been hard to test. We focus on the transformation of quotations when they are copied from blog to blog or media website: by coding words with a number of (...) well-studied lexical features, we show that the way words are substituted in quotations is consistent with the hypothesis of cultural attractors and with known effects of the word features. In particular, words known to be harder to recall in lists have a higher tendency to be substituted, and words easier to recall are produced instead. Our results support the hypothesis that cultural attractors can result from the combination of individual cognitive biases in the interpretation and reproduction of representations. (shrink)

The Founding declaration of the journal.

Mit seiner Theorie der vernünftigen Übereinkunft liefert André Olbrich die Grundlegung eines Kriteriums für moralische Urteile über richtig und falsch: Im Anschluss an klassische und moderne Vertragstheoretiker wird die Akzeptanz eines Urteils durch die Betroffenen zum obersten Rechtfertigungsmaßstab erhoben. Das vertragstheoretische Denken wird weiterentwickelt und konsequent als umfassende normative Theorie ausformuliert. Die Leserinnen und Leser erfahren, von welchem Standpunkt aus sich die Regeln unseres sozialen Miteinanders einer Kritik unterziehen lassen und auf welchen moralischen Grundlagen Recht und Politik aufbauen.

According to André Orléan, the characteristics of the economical sciences dead ends in the analysis of Jacques Sapir, is the desire expressed by the orthodox movement to radically split up from the social sciences in order to establish the economical science as autonomous. André Orléan also points out Jacques Sapir-,s criticism to his book The monetary violence, according to which it induces a form of monergol essentialism that would render the currency an essential and contradictory social relation.