Art as a Singular Rule "Art has nothing to do with me. Or my family. Or anybody I know" Abstract - This paper will examine an unresolved tension inherent in the question of art and argue for the idea of a singular rule as a natural resolution. In so doing, the structure of a singular rule will be fully outlined and its paradoxical constitution will be resolved. The tension I mention above unfolds both as a matter of history and as (...) a product of analysis. The concept of imitation will be our introduction to a brief overview of a historical trajectory starting with Plato. Plato is notorious for having imposed one of the most humiliating verdicts ever on the Arts: Art is imitative he argued, it is the practice of reproducing illusions and is, therefore, both an inferior source of knowledge and an ethically corrupt activity. Then, the story continues, came Aristotle, the savior of the Arts: he suggested that since essence, form, is imbedded in reality, the artist who imitates essence performs the noble task of abstracting form from substance. Art could now proudly stand alongside other highly respectable branches of human activities, such as the sciences. With the dominance of Aristotle in Western culture, abstraction came to play a key role. Leaping forward to our time, it can be argued that in Modernism the move towards abstraction was pushed to breaking point - to the point where the object was dismissed and denied relevancy to the work of art. This will bring us to a discussion of Art as representation and subsequently, to the introduction of a line of philosophical reasoning that threatens the Arts. It will seem as if we are caught between two extremes: If we assume that art is representational, we open the door for the old Platonic criticism that art is merely imitative (of its object); If we return to abstractionism, we may be led along a path that does not stop short of renouncing the object altogether, i.e. nothing is asserted as standing to the work of art as an "object" or an outer aim; this leaves us on a suspiciously skeptical note concerning the purpose and aim of art - and it indeed echoes prevailing feelings of unrest and confusion concerning the arts, precisely the sort that the quote above indicates. This seems to entrap us in a vicious circle. However, drawing upon the philosophies of Kant, Wittgenstein, Goodman and the contemporary Czech philosopher and esthetician, Tomas Kulka, I suggest a way for resolving the dilemma. This is my analysis of singular rule. (shrink)

The volume represents a selection of the articles which were presented at a colloquium on new research topics in aesthetics at the Austrian Library in Pilsen in September 2010. Their authors, Czech and Austrian scholars, address various topics, ranging from the institutional history of aesthetics to the relationship between philosophical aesthetics and psychology, and from the philosophy of literature to the aesthetics of fine arts, dramatic arts, and architecture.

Already in the thirteenth and fourteenth centuries, the Minorite and Dominican orders (or Poor Clares and Dominican women) played an important role in town building in terms of religion and social ties, as well as in architecture and urban development. In the late fifteenth and sixteenth centuries, the Franciscan Order became important in the same urban environment, contributing with other monasteries to shaping the changing religiosity. This article studies the relationship of Mendicants’ priories – both male and female – to (...) their urban milieux, for which these orders’ monasteries are typical. The area of interest, however, is not the monastic church but the chapter house and the cloister. Despite the presumed rules of enclosure, a lay public can also be envisioned in these spaces, enabling the study of a partial interconnection between the “outer” secular and the “inner” sacred monastic worlds. A combined historical, art historical, archaeological, and anthropological analysis furthers understanding of the conditions under which these interconnections developed. Urban “artistic” and memorial presentations in the monastic context can be traced, along with activities organized in both the cloister (e.g., funerals and processions) and the chapter house, which also served for other types of lay gatherings (e.g., court or guild chapel). (shrink)

An introduction to an English translation of Jan Mukařovský´s lecture The Semiology of Art. In this lecture Mukařovský, a Czech aesthetician, literary historian, theorist, and leading proponent of Czech structuralism, develops his interpretation of the semiotics of art from a detailed explanation of the basic functions of the artistic sign. He emphasizes the role of the aesthetic function, which is dominant but latently and potentially contained in all the other functions of the linguistic and the artistic sign. He (...) then defines the artistic sign as the dialectical negation of the communicative sign. (shrink)

Resumen: En el presente estudio tratamos de aportar algunas concisas indicaciones relativas a la posibilidad de reconstruir una “teoría estética” a partir de las indicaciones formuladas en este sentido por el filósofo checo Jan Patočka. Partiendo de su distinción entre “arte tradicional” y “arte moderno”, esto es, entre el arte concebido como “signo” y el arte entendido de forma autónoma, se trata de mostrar el modo en el que Patočka localiza la esencia del arte en el acto de revelar la (...) cara oculta de lo real. Aquella dimensión extraordinaria de las cosas que se pone de manifiesto en su puro y simple aparecer: más allá de toda mirada pragmática o utilitaria.: In the present work we try to provide some concise remarks concerning the possibility of rebuilding an “aesthetical theory” from the indications framed in this respect by the Czech philosopher Jan Patočka. On the basis of his distinction between “traditional art” and “modern art”, that is, between the art conceived as a “sign” and the art intended in an authonomous manner, we try to show the way in which Patočka places the essence of art in the act of revealing the hidden side of reality. It would be that extraordinary dimension of the things that is revealed in its pure and simple appearing: beyond all utilitarian or pragmatic gaze. (shrink)

[A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social (...) interactions. Though the author of the article agrees with this analysis of Czechoslovak modernism as anti-formalist, he seeks to draw attention to the writings of the Czech literary theorist Jan Mukařovský, which were contemporaneous with Chalupecký’s and Greenberg’s--in particular Mukařovský’s 1944 lecture “The Essence of the Visual Arts.” The author provides a comparative analysis of Mukařovský and Greenberg, suggesting that the former was quite close to the latter’s “formalism.” This might seem incorrect, given that Mukařovský is considered to be a precursor of the semiotic theory of art, which is generally understood as antithetical to formalism. The solution, he argues, is to realize that Greenberg is subtler, hence not so "formalist” after all. At any rate, it turns out that in addition to Chalupecký’s “social” theory of art, Mukařovský had a more “formalist” alternative which – for well-known historical reasons – had no effect on the subsequent development of Czechoslovak modernism. (shrink)

A Czech-language review of two of Arthur Danto's collections of art criticism -- BEYOND THE BRILLO BOX and EMBODIED MEANINGS.

Assisted reproduction (ART), particularly that performed using donated gametes, increases the prospect of healthy babies being delivered to increasing numbers of people striving for parenthood. The psychosocial, ethical and legislative issues related both to the donation and receipt of gametes are perceived as extraordinarily complicated. In 2009, a research project aimed at mapping the issues was drawn up and implemented in the Czech Republic. The project should have provided material for consultation purposes, for the work of ethical and legislative (...) bodies, and for better interdisciplinary and international communication in reproductive medicine. Work on the project was affected by several unforeseen events, particularly by the drafting and adoption of a new law on ART (to which the project was initially to have contributed material once concluded). The article describes the dynamic and structural changes occurring within the project due to drafting of the bill as well as the changes and consequences resulting from other circumstances related to the topic researched. (shrink)

The study Freedom from Dialogue: The Work of Radim Palouš in Conversation with Selected Philosophers and Theologians of Education presents the main themes of the life work of Radim Palouš, a prominent Czech philosopher of education working in the tradition of Comenius and Patočka. From those key themes, the author selects the concept of education and the concept of freedom and examines these in selected philosophers of education and theologians of education from around the world who also produced their (...) works in the twentieth or even twenty-first century, as Radim Palouš did. The purpose of the study is to provide contemporary educators and teachers with inspiration to deepen and develop the meaning of their activity, which consists in education and training, in cultivating man, or in bringing man to a free and responsible life, as this study particularly wants to emphasize. Jacques Maritain, Joseph Pieper, James Vincent Schall and Stratford Caldecott have been chosen as philosophers of education and theologians of education. All of them have dealt with the theme of freedom and the liberal arts and have attempted to suggest in their writings how man today might also be brought to the goal of educational endeavour, to the free assumption of his own responsibility for education. At specific points in the writings of selected philosophers and theologians of education, it is shown that true freedom is not created by human construction but is born in dialogue. Therefore, through a kind of dialogue between the Czech thinker and selected foreign thinkers, inspiration for today is sought. This is the first book publication in Czech that deals explicitly with theology of education and philosophy of education, their interrelationship, correspondences and differences. (shrink)

A review of the Czech translation of Nelson Goodman's Languages of Art. I emphasize Goodman's move away from the issue of the definition of art, and the fruitfulness of the autographic/allographic distinction.

Since Darwin proposed that human musicality evolved through sexual selection, empirical evidence has supported intersexual selection as one of the adaptive functions of artistic propensities. However, intrasexual competition has been overlooked. We tested their relative importance by investigating the relationship between the self-perceived talent/expertise in 16 artistic and 2 sports modalities and proxies of intersexual selection and intrasexual competition in heterosexuals. Participants were 82 Brazilian men, 166 Brazilian women, 146 Czech men, and 458 Czech women. Factor analysis revealed (...) five factors: Literary-arts, Visual-arts, Musical-arts, Circus-arts, and Sports. Multivariate General Linear Model showed more associations of the arts to intersexual selection in women and to intrasexual selection in men, and overall more relationships in women than in men. In women, literary and musical-arts were related to elevated inter- and intrasexual selections proxies, visual and circus-arts were related to elevated intersexual selection proxies, and sports were related to intrasexual selection proxies. In men, literary-arts and sports were related to elevated inter- and intrasexual selection proxies, musical-arts were related to intrasexual proxies, and circus-arts were related to intersexual proxies; visual-arts did not have predictors. Although present in both sexes, each sexual selection component has different relative importance in each sex. Artisticality functions to attract and maintain long/short-term partners, and to compete with mating rivals. (shrink)

The collection of papers assesses the impact of the reception of Averroist ideas on philosophy between the 15th and 17th century in the Latin West. Most of the articles in the volume were presented at the conference "Averroism between the 15th and 17th century", which was held on 9th-10th November, 2016 by the Department of Philosophy, Faculty of Arts at Palacký University, Olomouc, the Czech Republic. The contributors explore the influence of Averroes, identify the difficulties in the interpretation of (...) his works, and study his followers and critics in the Latin, Hebrew, and Byzantine traditions"--Back cover. (shrink)

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincidedwith increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate continued. These events and (...) issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick,widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates theintellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)

Author looks into the problem of Marian Zdziechowski’s cooperation with the journal „Nový život”, the newsletter for Czech Catholic modernists. The background for author’s considerations is a historical outline of The Modernist Crisis, its intellectual origins and historic consequences. From 1902 to 1905 five Zdziechowski’s essays were translated and published in „Nový život”. The ideas of the Polish philosopher significantly influenced the development of the Catholic modernism in Bohemia. Zdziechowski discussed such issues as: the crisis and the revival of (...) religion at the turn of the 19th and 20th centuries, the significance of the Catholic Modernism for the renewal of Roman Catholic Church and the relation between religion and modern art. (shrink)

We live in an era when increasing numbers of babies are conceived through assisted reproduction technologies (ART). Using a comprehensive approach, the present research seeks to contribute to the understanding of gender differences in experiencing and coping with infertility, and in dealing with ART treatment. Our sample consisted of 10 heterosexual couples aged 24 to 43 and the data were collected through semi-structured interviews. In the studied sample, gender differences existed not only in experiences of infertility, but also in understanding (...) it, and in dealing with ART treatment. Responses to stress caused by infertility were stronger in women and they also perceived this stress more intensely than men. For women the central aspect of infertility was the desire for a child, while for men it was perceived more as a socially imposed obligation to fulfill the male role. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

We examine significant parallels between Surrealist art theory and Vico’s understanding of primitive metaphor, centering on a 1933 article on Vico by the Czech Surrealist Zdenko Reich, who recognized that Vico’s understanding of primitive thought shared notable similarities with the Surrealists’ intent to effect an epistemological revolution by re-establishing poetic thought as the central mode of human understanding. The Surrealists sought to undermine the rationalist assumptions of Western philosophy and revive the “poetic ideas of the first men” through the (...) use of disjunctive juxtaposition, a technique Reich identified with Vichian primitive metaphor. Also like Vico, Reich and the Surrealists stressed the concrete and sensory foundations of thought as revealed in language, and saw the human body as the primary mediating vehicle of poetic thought. In this regard the Surrealists can be seen as effecting a complete embrace of Vico’s concept of metaphor in their attempt to re-organize reality on poetic terms. (shrink)

This short essay by Karol Kuzmány (1806–1866), a founding father of Slovak aesthetic thinking, was written in Czech and published in 1836 in Hronka, a periodical edited by the author. In the essay, Kuzmány follows on from the thinking of his teacher at Jena, Jakob Friedrich Fries (1773–1843), particularly Fries’s theory of Ahn(d)ung (intuitive awareness). In the introduction, Kuzmány emphasizes that his concern is to bridge the gap between the theory of imitation and the theory of art based on (...) imagination. In the first part of the essay, concerning general aesthetics, Kuzmány presents his theory of beauty – the feeling of the essence of things through perception by the mind (Anschauung or intuitus mentis); the basic idea – truth, the moral good, and beauty – according to Kuzmány, comprises the idea of religion in the broader sense – Humanität, humanitas. Rather than the opposite of beauty, the sublime constitutes beauty’s being raised to a qualitatively higher level: it is based on a contemplated intuitive awareness, which is itself felt. The second part of the essay consists of Kuzmány’s attempt to define art and to categorize kinds of art and genres of poetry. He distinguishes between unmediated art, which represents beauty to the external senses, and mediated art, which is aimed at inner feeling. The latter category includes poetry, which is, according to him, the supreme art, for it can, with the help of language, represent all forms of unmediated art as well. Kuzmány also devotes himself to a speculative justification of its genres, poetic style, and verse. (shrink)

To support my Phd theses and results of my grant research in 1999, I asked 1) prominent chemist Antonín Holý, author of substances to treat hepatitis and HIV, about the indivisibility of the art and science (published in Slovak Narodna Obroda and Czech blisty,cz), 2) the distinguished economist William Baumol about the alternative activities (published in Slovak Nove Slovo, Czech Respekt and blisty.cz), 3) Nobel Laureate Clive Granger about the significance of the economics (published in 2004 in (...) class='Hi'>Czech weekly Tyden). The interviews were exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013. (shrink)

This paper investigates the cultural significance of black holes and suns as metaphors in continental European literature and art, drawing on theoretical insights from French continental authors such as Jean-François Lyotard and Ray Brassier. Lyotard suggests that black holes signify the ultimate form of the sublime, representing the displacement of humanity and our unease with our place in the cosmos. On the other hand, Brassier views black holes as a consequence of the entropic dissolution of matter, reflecting physical reality's indifference (...) to subjective or teleological significance. The study also presents a curated collection of literary works and artworks that employ black holes and suns as metaphors, examining the emergence of these metaphorical objects and identifying discursive and epistemological shifts in society. Furthermore, this collaborative research project, involving the Pontifical Catholic University of São Paulo and the Federal Fluminense University in Brazil, and the Charles University in Prague in the Czech Republic, aims to provide a valuable resource for further academic inquiry. (shrink)

Facial perception plays a key role in various social interactions, including formidability assessments. People make relatively accurate inferences about men’s physical strength, aggressiveness, and success in physical confrontations based on facial cues. The physical factors related to the perception of fighting ability and their relative contribution have not been investigated yet, since most existing studies employed only a limited number of threat potential measures or proxies. In the present study, we collected data from Czech Mixed Martial Arts (MMA) fighters (...) regarding their fighting success and physical performance in order to test physical predictors of perceived fighting ability made on the basis of high-fidelity facial photographs. We have also explored the relationship between perceived and actual fighting ability. We created standardized 360° photographs of 44 MMA fighters which were assessed on their perceived fighting ability by 94 raters (46 males). Further, we obtained data regarding their physical characteristics (e.g. age, height, body composition) and performance (MMA score, isometric strength, anaerobic performance, lung capacity). In contrast to previous studies, we did not find any significant links between the actual and perceived fighting ability. The results of a multiple regression analysis have, however, shown that heavier fighters and those with higher anaerobic performance were judged as more successful. Our results suggest that certain physical performance-related characteristics are mirrored in individuals’ faces but assessments of fighting success based on facial cues are not congruent with actual fighting performance. (shrink)

How and why did the notion of philosophy as a system evolve in Germany at the turn of the 16th and 17th centuries? Otto Casmann’s Modesta Assertio provides new answers to this question. Casmann, Clemens Timpler’s predecessor as professor in Steinfurt refers to other ‘like-minded philosophers’ who believe that philosophy is a ‘structured system of the liberal arts’. Casmann himself states that philosophy is a ‘structured unity of erudite wisdom’. The text is part of the debate between Daniel Hoffmann and (...) the Reformed philosophers about the relation between philosophy and theology. It can be made plausible that Hoffmann himself was Casmann’s target. The paper shows that a ‘structured unity of erudite wisdom’ presupposes harmony between theological insights and the findings of philosophy. Thus the earliest discussions of philosophy as a system were meant to immunise Reformed philosophy against Hoffmann’s attempt to revive Lutheran anti-philosophy. © 2018, Academy of Sciences of the Czech Republic. All rights reserved. (shrink)

An exercise in humour noir, this essay explores relations between the Paris and Prague surrealist groups from André Breton and Paul Éluard's visit to “the magic capital of old Europe” in 1935 to the aborted “Prague Spring” of 1968. It focuses on the famous “starry castle” of Breton's Mad Love — which Czechs know better as Letohrádek Hvězda at Bílá hora, the White Mountain — as a signifier whose wanderings, over the period, encapsulate the mutual myths and misunderstandings that were (...) constitutive of this most poignant of surrealist love affairs. The essay ends by suggesting that what makes the Czech capital a fitting object of the surrealist imagination (and a rich source of surreal art and literature in its own right) is less the “historic charms” that so seduced Breton in 1935 than the “geographical, historical, and economic considerations” of the city's modernity that he blithely put to one side. (shrink)

The book you hold in your hands is the outcome of the "ISCS 2013: Interdisciplinary Symposium on Complex Systems" held at the historical capital of Bohemia as a continuation of our series of symposia in the science of complex systems. Prague, one of the most beautiful European cities, has its own beautiful genius loci. Here, a great number of important discoveries were made and many important scientists spent fruitful and creative years to leave unforgettable traces. The perhaps most significant period (...) was the time of Rudolf II who was a great supporter of the art and the science and attracted a great number of prominent minds to Prague. This trend would continue. Tycho Brahe, Niels Henrik Abel, Johannes Kepler, Bernard Bolzano, August Cauchy Christian Doppler, Ernst Mach, Albert Einstein and many others followed developing fundamental mathematical and physical theories or expanding them. Thus in the beginning of the 17th century, Kepler formulated here the first two of his three laws of planetary motion on the basis of Tycho Brahe’s observations. In the 19th century, nowhere differentiable continuous functions (of a fractal character) were constructed here by Bolzano along with a treatise on infinite sets, titled “Paradoxes of Infinity” (1851). Weierstrass would later publish a similar function in 1872. In 1842, Doppler as a professor of mathematics at the Technical University of Prague here first lectured about a physical effect to bear his name later. And the epoch-making physicist Albert Einstein – while being a chaired professor of theoretical physics at the German University of Prague – arrived at the decisive steps of his later finished theory of general relativity during the years 1911–1912. In Prague, also many famous philosophers and writers accomplished their works; for instance, playwright arel ape coined the word "robot" in Prague (“robot” comes from the Czech word “robota” which means “forced labor”). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bookmarks When most of us think of the losses for literature, music, and art caused by the First World War, the names that typically spring to mind are Rupert Brooke, WUfred Owen, and perhaps George Butterworth. This is conventional Anglocentrism. The millions of young victims of that conflict included many of the most promising artistic and literary talents from across Europe and beyond. The magnitude of this loss is (...) brought home by a new book edited by Tim Cross, TL· Lost Voices of World War I: An International Anthology of Writers, Poets, and Playwrights (University of Iowa Press, $17.95, paperbound). The idea is simple, the result moving. Cross has brought together fifty-nine biographical sketches of poets or writers who died in the war, with relevant illustrations and samples of their work. The two-column, 406-page book ranges from the American Alan Seeger and more famous British names, through the Breton poet Jean-Pierre Calloc'h, Germans such as Georg Trakl and Franz Janowitz, the Alsatian Ernst Stadler, the Hungarian Géza Gyóni, and the Armenians Grigor Zohrab, Daniel Varouzan, and Siamant'o. There are Czechs, Bulgarians, Serbs, and Slovenes. It would be difficult tooverestimate the richness of TL· Lost Voices of World War I. As a random taste, here's a tart little piece by the German Gustav Sack, killed in 1916 during the advance on Bucharest. As with the other poetry in the book, this translation (by Anthea Bell) of Piffle (Quark) appears side by side with the original. Year after year, you gnaw your way through life, the years elude your clutch, and in the end, your hair is gray and still you don't amount to much. You eat and drink and court a girl, get chUdren too, the Lord knows why, whUe Time, pursuing its mad whirl, faster and faster rushes by. You lay you down to end your days a penitent; you thus obtain fine tributes to your worthy ways, and so chalk up one last net gain. Philosophy and Literature, © 1990, 14: 446-454 Bookmarks447 An appendix lists, with their major works, eight hundred creative artists known to have died as a result of the war. If this book is a record of the genius and aesdietic sensibUity of the human race, it is also a monument to its brutal stupidity. It is a war memorial like none other in my experience. The Heidegger-Hitler cauldron continues to boil, and the appearance in English of Victor Farias's Heidegger and Nazism (Temple University Press, $29.95) wUl further stoke the fire. Editors Tom Rockmore andJoseph Margolis provide a perceptive foreword to this American edition of the book in which they identify four strategies for dealing with Heidegger's involvement with Nazism. We have (1) the plain position that there is "an intrinsic link between Heidegger's thought and Nazism"; (2) the beUef that the link is purely contingent ; (3) the "learned" form of (2), according to which "Heidegger's detractors are insufficiently aware of the entire body of his thought to criticize it"; and (4) the view which concedes (1) but—watch out!—holds that "the uninitiated, those whose philosophical being is not bound up with Heidegger in an essential way, cannot really measure the importance or full significance of Heidegger's work." Tedious to have to say it, but people whose being is so "bound up" with Heidegger are quite possibly the least qualified to comment on his fascism. The old official stance—Heidegger was naive, guilty only of a temporary "political error," worked from within to protect the university, actuaUy wanted to defend Jews, and, my favorite, must have felt real bad, etc.—is demolished by the documentation in Farias's book. Different readers will be impressed by different items in the mass of material Heidegger and Nazism collects, but the overall case is conclusive. OccasionaUy I have the sense that this book contains too many diversions about characters connected with Heidegger. WhUe people Heidegger was friendly with—for example, the Freiburg mayor, Franz Kerber —may have had unimpeachable Nazi credentials, it is not always clear what this teUs us about Heidegger himself. In general, there is a... (shrink)

How can performance transform places of urban renewal and regeneration? What does performance contribute to the creation of community? These are some of the questions addressed in this study of the relationship of performance to urban space. Marrying theory with a series of international case studies of performance practice and interviews with practitioners, this interdisciplinary study examines how space is performatively produced to create a sense of 'placeness'. Case studies are drawn from Canada, Brazil, the Czech Republic, the UK (...) and Spain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Medical Ethics in a Time of De-CommunizationRobert Baker (bio)Ethics is often treated as a matter of ethereal principles abstracted from the particulars of time and place. A natural correlate of this approach is the attempt to measure actual codes of ethics in terms of basic principles. Such an exercise can be illuminating, but it can also obscure the circumstances that make a particular codification of morality a meaningful response (...) to specific historic circumstances. This is particularly true of the codes of medical ethics beginning to emerge from the post-Communist societies of Eastern Europe, which are, perhaps, best understood as artifacts of an era, rather than as expressions of abstract principles.The era in question is post-Communist. It is an era informed by a reaction to decades of Communism, which, of course, was more than an economic system or even an ideology; it was a form of life that permeated every aspect of civil society—advertising, art, literature, music. Medicine was not exempt. I recall entering an oncology ward in East Berlin and finding the patients seated around a large table making posters. Wondering whether this was a form of art therapy, I asked the head nurse what the patients were doing. She replied: it is "Party time—the portion of each week every citizen donates to the people and the Party." I looked again at the posters and saw that they honored Karl Marx on the 100th anniversary of his death: "1883-1983, The Struggle Goes On." The Party, the struggle, the people, were everywhere, and they penetrated and informed daily life even for terminal patients on a cancer ward.The interweaving of Communist practices into the warp and woof of daily life has profound implications for the post-Communist era. It means that East Europeans cannot simply rebuild; they must unweave Communist thought patterns—what might be called the ideostructure of Communism—from the fabric of their lives through a deliberate process of deCommunization. What remains after de-Communization depends upon [End Page 363] the historical relationship each country had with Communism. In Russia, removing Communist ideostructure sets the conceptual calendar back to 1918. For the Czechs, the calendar advances to the 1930s, leaving them with thought patterns that are Western, industrial, and democratic. In the rest of Eastern Europe the conceptual clock also tends to turn back to the 1930s, but at that time the conceptual frameworks were nationalist, anti-Western, and frequently fascist, or even Nazi.In Poland the situation is different. World War II opened with the Nazi invasion of the country—which Hitler (later joined by Stalin) subsequently occupied. After the war, the Soviet army controlled the country, which became a captive player in the Soviet sphere of influence (aptly denominated, "the Warsaw Pact"). Poland's pre-Communist thought patterns are nationalist, West-leaning, accepting of parliamentary structures, but also of authoritarian government. They are also Catholic.Catholicism to Poles is not merely a religion, it is a posture of opposition to their German (Nazi, antichristian) and Russian (Orthodox or atheist) occupiers. I toured Polish hospitals several times during the Communist period —always accompanied by one or more "tour guides." (Westerners were not allowed to roam Communist countries unescorted.) Almost all of my guides wore little pins adorned with the face of Lenin (not the hammer and sickle—a symbol of Soviet occupation). Most doctors and nurses, however, adorned themselves with Catholic icons—typically a crucifix. Their conspicuously displayed crosses symbolized less their embrace of Catholicism than their rejection of Communism. Catholicism, in the Polish context, was thus an affirmation of individual and national independence.De-Communizing Polish Medical Ethics: The Abortion ControversyIn Poland, de-Communization was initiated through a series of negotiations between Lech Walensa's Solidarity and the Communist Government. The Polish Code of Medical Ethics is an indirect consequence of these negotiations, which stipulated the dissolution of Communist medical organizations. They were to be replaced by a Polish Medical Chamber—a type of quasi-governmental body, common in Eastern Europe, which combines the functions of a governmental licensing agency with those of a national medical association. Medical chambers also set standards of professional conduct and (unlike... (shrink)

For students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. Lev Manovich calls this modern phenomenon Instagramism. In our paper we look at the basic features of his aesthetics. Than, we will compare how established artists such as Cindy Sherman, (...) Richard Prince and Czech photographer Libuse Jarcovjakova work with Instagram and in which ways their approach is different from the co-called Instagrammers. (shrink)

In this important article, first published in 1917, the Czech aesthetician, musicologist, and composer Otakar Zich (1879--1934) distinguishes between two kinds of evaluation of a work of art: aesthetic evaluation and artistic evaluation. He bases this differentiation on two possible attitudes that a perceiver may have towards a work of art. The first originates solely in the perceiver’s experience of the work and his or her search for a feeling of pleasure. It reflects only the subjective preferences of the (...) individual; Zich terms the corresponding value ‘relative aesthetic value’. Above the relative value of an emotional effect there is an evaluation of a higher order, which consists in ‘comprehending’ a work of art. It is to this evaluation that artistic value corresponds. According to Zich, however, this objective value is grounded not in the work itself, but in the distinctive ‘personal value’ of the artist. In artistic evaluation, the work of art is therefore evaluated as a manifestation of strong artistic individuality. (shrink)

The publication entitled Josef Zvěřina and Theology of Agape involves texts of the foremost disciples of the greatest of Czech theologians of the 20th century and those who have been dealing with the theology of agape in subsequent generations of Czech theology. The three main thematic units of the publication gradually bring insight into the life and work of Josef Zvěřina (1913–1990).

A review of the first Czech translation, published in 2007, of Nelson Goodman’s Languages of Art.

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

This paper explores the integration of machine learning into economics and social sciences, assessing its potential impact and limitations. It introduces fundamental machine learning concepts and principles, highlighting the differences between the two disciplines, particularly the focus on causal inference in economics and prediction in machine learning. The paper discusses diverse applications of machine learning, from extracting insights from unstructured data to creating novel indicators and improving predictive accuracy, while also addressing challenges related to data quality, computational efficiency, and data (...) ownership. It emphasizes the importance of standardization, transparency, and ethical considerations in prediction tasks, recognizing that machine learning is a powerful tool but cannot replace economic theory. Ultimately, researchers remain optimistic about the transformative potential of machine learning in re-shaping research methodologies and generating new insights in economics and social sciences. (shrink)

During the Third Reich, state‐sponsored violence was linked to scientific research on many levels. Prisoners were used as involuntary subjects for medical experiments, and body parts from victims were used in anatomy and neuropathology on a massive scale. In many cases, such specimens remained in scientific collections and were used until long after the war. International bioethics, for a long time, had little to say on the issue. Since the late 1980s, with a renewed interest in the Holocaust and other (...) Nazi crimes, a consensus has increasingly taken hold that research on human tissues and body parts from the Nazi era is inadmissible, and that such specimens should be removed from scientific collections and buried. The question of what to do with scientific data obtained from these sources has not received adequate attention, however, and remains unsolved. This paper traces the history of debates about the ethical implications of using human tissue or body parts from the Nazi period for scientific purposes, primarily in the fields of anatomy and neuropathology. It also examines how this issue, from after the war until today, influenced the establishment of legal and bioethical norms on the use of human remains from morally tainted sources, with a particular emphasis on Germany and Austria. It is argued that the use of such specimens and of data derived from them is unethical not only because of potential harms to posthumous rights of the victims, but also because such use constitutes a moral harm to society at large. (shrink)

In this paper we attempt to show that rhetoric plays an important role in economics as a science and in economy as a social system. Our task is rather demonstrative, but it aims at stripping away the illusion that economics has acquired a status equal to the natural sciences, in which there is no place for subjectivism and ambiguity. Economics belongs, after all, to the realm of the social sciences and as such it is subject to the limitations of human (...) cognition and understanding. We show that economics as a science is not free from employing sophisticated methods of persuasion and rhetoric. Next, we also try to demonstrate that rhetoric can be a useful tool in creating economic reality. It does not have influence on economic processes per se, but it is helpful in constructing an institutional architecture of the economy by influencing public opinion and decision makers. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)