The paper presents the donkey's bray in Robert Bresson's film (F 1966) that disturbs the montage insistently as an open sound object and puts it in the context of bioacoustics. The donkey's hee-haw diversifies noise in such a way that the borderline between object and creature becomes permeable. Bresson's passion proves to be an experiment to perceive the acoustic channels of communication as transformers of animals, spaces and that kind of transmission that researchers informed by cybernetics call »language«.

Der Ruf des Esels als offenes Klangobjekt in Robert Bressons Film Au hazard Balthazar (F 1966), der die Bild-Montage insistierend stört, wird in diesem Beitrag in den Kontext der Bioakustik gestellt. Am JA des Esels differenzieren sich Geräusche medial so aus, dass die Grenze zwischen Ding und Kreatur durchlässig wird. Bressons Passion erweist sich damit als Experiment, die akustischen Kanäle der Kommunikation als Transformatoren von Lebewesen, Räumen und jener Übertragung wahrzunehmen, die kybernetisch informierten Tierforschern Sprache heißt. The paper presents the (...) donkey's bray in Robert Bresson's film (F 1966) that disturbs the montage insistently as an open sound object and puts it in the context of bioacoustics. The donkey's hee-haw diversifies noise in such a way that the borderline between object and creature becomes permeable. Bresson's passion proves to be an experiment to perceive the acoustic channels of communication as transformers of animals, spaces and that kind of transmission that researchers informed by cybernetics call »language«. (shrink)

Ute Gahlings opens up the professional field of philosophical practice with its various forms of activity such as consolation and life orientation, education and personality development as well as political and social commitment. On the basis of concrete situations in philosophical practice, she traces the complex intersubjective processes phenomenologically. She illuminates the importance of intuition, presence and atmosphere as well as the professional framing of the encounter in the field of tension between proximity and distance. In this multidimensionality, the author (...) is always concerned with core questions of an ethically based anthropology. Therefore, she also deals with professional ethical considerations and develops a code of ethics. (shrink)

Drawing on newspaper articles, ad campaigns, declassified government archives, and old movies, Ken Hollings shows the culture of postwar America and its dream of limitless technological and human development.

“I think that the main interest of philosophy in our time should be to rethink our relationship to the world. According to the previous, two-thousand-year-old relationship of man, he saw himself confronted with a reality that he had to subjugate through mental and physical appropriation. Not least the realisation that nature cannot be dominated but threatens to strike back in extreme ways, as well as the experience of world-wide wars and the spreading exploitation of man by man, lead to the (...) insight that our relationship to the Other must be reconsidered. I am not asking what philosophy is, but how philosophising happens - astonishing, critical, speculative, pictorial, finite.”(The author about her book). (shrink)

*Weitere Angaben Inhalt: Mit der Frage nach der Zuständigkeit der eigenen Nase in Religionsangelegenheiten beginnt diese ungewöhnliche Reise in Erfahrungsbereiche, die von Theologen bislang eher gemieden wurden. Nicht der Inhalt von Glaubensbekenntnissen ist Gegenstand des Interesses, sondern der Tonfall, in dem sie vorgetragen werden. Von bestimmten Kirchengerüchen geht die Rede, von Körperhaltungen beim Gottesdienst, von Kindheitserinnerungen und vom Läuten der Glocken. Dabei stellt sich heraus, dass mit dem abgenützten Etikett des Religiösen die Sinnenfälligkeit des Erlebten nur sehr oberflächlich bezeichnet wird.

Raum und Zeit sind Grundprobleme der abendlandischen Philosophietradition. Beide sind vielfach als zusammengehorig betrachtet worden, und beide sind als messbare Dimensionen Teil einer Ordnung, die uns in unserem Wahrnehmen und in unserem Handeln Orientierung und Sicherheit gibt. So verlassen wir uns bei jeder Verabredung darauf, dass der Treffpunkt und der Zeitpunkt der Verabredung eindeutig sind. Doch gibt es neben der linearen Zeit und dem metrischen Raum auch andere Weisen, Raum und Zeit zu erleben. Wenn man die Welt als offenes Zusammenspiel (...) von Dingen und Geschehnissen und Beziehungen versteht, so verlangt dies auch eine andere Auffassung von Raum und Zeit: Wir weilen und verweilen in Raumen, die uns umfangen und beherbergen. Wir empfinden kurze oder lange Weile. Und wir erfahren Weite, etwa in ihrem Gegenspiel zu Enge und Bedrangnis, wir stehen vor einer weiten Landschaft oder am weiten Meer - unser Herz wird weit. Indem wir uns einer Weile anvertrauen oder eine Weite in uns aufnehmen oder uns ihr uberlassen, behandeln wir das uns Begegnende nicht als Objekt unseres Tuns und Erkennens, sondern realisieren, dass wir in die uns umgebende Welt mit ihren je unterschiedlichen Weilen und Weiten je schon eingebettet sind. (shrink)

This essay examines dominant notions of reproductive identity in feminist bioethics from a queer-crip perspective by considering the “reproductive situation” in Germany of people who are classified as disabled and people who are classified as queer. I analyze the ways in which such people are excluded from the understandings of reproductive identity that figure prominently in German feminist bioethics, and argue that feminist bioethics in Germany, which has become a well-established part of important bioethical institutions, reflects many, if not most, (...) of the neo-eugenic developments that characterize more recognizably mainstream bioethics. I also show that feminist bioethics constitutes the reproductive subject as nondisabled, intelligibly gendered, and heterosexual. (shrink)

Suls provides a useful review of research interested in the contribution of chronic negative emotions to coronary heart disease. Despite widespread support for a link between negative emotions and the etiology of disease, it is largely unknown if discrete negative emotions, particularly anger, sadness, and anxiety contribute to the development of physical disease in different ways. In this comment, we argue that answering this question will require a more comprehensive analysis of the unique characteristics of discrete emotions as well as (...) conceptually refined assumptions about how discrete emotions develop and change across the adult lifespan. (shrink)

ABSTRACTThis study investigated age differences in empathic accuracy, the ability to correctly perceive others’ emotions, in a sample of 151 boys and men from three age groups: adolescents, young adults, and middle-aged adults. All participants viewed nine newly developed film clips, each depicting a boy or a man reliving one of three emotions, while talking about an autobiographical memory. Adolescents and middle-aged men were less accurate than young men, and these age differences were associated with parallel age differences in fluid-mechanical (...) abilities. In addition, age differences in vocabulary, one indicator of crystallized-pragmatic intelligence, were associated with age differences in empathic accuracy in adolescent and young, but not middle-aged, men. Within the limitations of cross-sectional data, this study provides evidence for the idea that empathic accuracy is an effortful t... (shrink)

This paper discusses the extent to which governmentality provides a critical visibility of the economy beyond its liberal imaginary. It argues that Foucault’s conceptual and historical understanding of liberal governmentality has two traits that encumber a de-centering of the economy from a Foucauldian perspective. The first obstacle results from a persistent asymmetry of the concept of governmentality as it remains solely geared towards replacing the monolithic account of the state. Governmentality is therefore in danger of rendering the economic invisible instead (...) of advancing an analytics of power appropriate to the specificity of this field. The second impediment relates to how Foucault reads the invisibility of the economy asserted in liberal discourse. While Foucault emphasizes how the “invisible hand” imparts a critical limitation towards the sovereign hubris of total sight, the paper unearths a more complex politics of truth tied to the invisible economy. Drawing on selected historical material, the papers shows that the liberal invisibility of the economy rather functions as a prohibitive barrier towards developing novel and critical visibilities of the economy. A Foucauldian perspective on economy, the paper concludes, benefits from piercing through this double invisibility of the economy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 13-31 [Access article in PDF] A Philosophical Inquiry into the Nature of Computer Art Holle Humphries Before the computer is accepted unquestioningly as a legitimate artistic medium, some of the challenging aesthetic and philosophical issues raised by [computer art] must be solved. The most haunting questions concern the impact of the technology on the artist, the creative process, and the nature of (...) art. 1How might we lead students in an exploration of the philosophical issues regarding art created with a computer? The most important step is first to guide them in exploring ontological concepts and questions asked about the nature of art and computer art, before investigating related issues of epistemology, value, and criticism. Students need to understand the nature of their art tool and medium of choice. Therefore, it becomes a matter of concern to discover that when discussing and writing about computer art, students sometimes use such terms interchangeably as "computer art" and "computer-generated art," when they are not synonymous, and talk about "virtual reality" as though engaging in any activity that involves a computer constitutes experiencing one. It is clear that this problem arises because many have not paused to examine the nature of computer art within the context of the process and product of art, and the subtle nuances regarding what might distinguish each from other human enterprise. To help clarify their thinking, we might use the foundation of art theory and the strategy of philosophical inquiry, implemented by adopting questioning strategies, to guide students through an exploration of the ontological nature of computer art. This can begin by launching the question: "What is the nature of art — or computer art?" Philosophy of Art: "What is the Nature of Art?" Many philosophers have attempted to describe or define the nature of art formulated in a theory of art. A theory of art attempts to specify where the essence of art is thought to reside, or what exactly art's essence is. [End Page 13]The imitation theory, initiated in the 5th century B.C. by Plato, held that to be a work of art, an object must mirror reality. 2 As this theory placed the essence of art in the objective properties of the art work itself, we consider the imitation theory to be object-centered or objective in nature. Similarly, with his formalist theory of art, Clive Bell claimed that the essence of art lies in the object — within the structural design properties of a work of art. To qualify as a work of art, an object must exhibit significant form. Significant form consists of certain formal properties such as the art elements of lines and color combined in a particular way according to art principles, all used to create certain forms and relations of forms. 3The expression theories of art shifted attention to the artist and audience and thus are considered subject centered, or subjective, bound up in notions of the experience of creation by the artist and/or the response of the audience. Benedetto Croce asserted that a work of art resides in the mind of the artist. An artist must experience an intuition, and it is this mental process that constitutes art, not the object which the artist might create thereafter. 4 Robin Collingwood claimed that art is an exploration, clarification, and expression of an artist's emotion, made clear to an audience through a medium. 5 Leo Tolstoy believed that art should be a vehicle by which the emotion experienced by the artist at the time of creation is transmitted to an audience, so that the audience can experience that emotion as well. 6Morris Weitz asserted that none of these theories capture an essence of art because they are either too broad, too narrow, or else are circular. He claimed that the concept of art cannot be limited to one essence delimited in a definition. Weitz suggested that we must instead look at what theories of art have to say is important about art so that we know what to... (shrink)

Mindfulness has emerged as a potential motivator for sustainable lifestyles, yet few studies provide insight into the relationship between mindfulness practice levels and individual engagement in pro-environmental behaviors. We also lack information about the significance of meditators’ behavioral differences in terms of their measurable environmental impact and the motivational processes underlying these differences in pro-environmental performance. We classified 300 individuals in three groups with varying meditation experience and compared their pro-environmental motivations and levels of animal protein consumption. Exceeding prior attempts (...) to compare high-impact behaviors of mindfulness practitioners and non-practitioners, we created the most detailed classification of practice engagement by assessing frequency, experience and type of meditation practice. This nuanced view on mindfulness practice reveals that advanced meditators, who reported high levels of connectedness with nature, subjective happiness and dispositional mindfulness showed significantly more concern for the environment. They also demonstrated the lowest levels of greenhouse gas emissions, land occupation and water use related to their animal-protein consumption. This study is the first to follow a self-determination theory perspective to deepen our understanding of the motivational differences between meditator groups. We revealed that advanced meditators reported significantly more integrated motivation toward the environment than non-meditators. We also provided preliminary evidence for a new theoretical framework suggesting that experiential strategies such as mindfulness practices could strengthen the relational pathway of pro-environmental behaviors. Using sequential mediation analysis, we confirmed that the negative effect of mindful compassion practice on greenhouse gas emissions from animal-protein consumption is partially mediated by CWN and integrated motivation toward the environment. While our study does not support assumptions of causality, it shows that much can be learned by studying the motivations of advanced meditators for maintaining high levels of pro-environmental behavior. (shrink)

This article argues that Foucault’s account of the intersection between population, liberal economy, and biopolitics needs to be reconstructed in light of Malthus’ Essay on the Principle of Population. Taking Malthus into account brings to the fore how deeply the question of population is tied to a colonial hierarchy that differentiates between dangerous ‘savage’ and economic ‘civilized’ life. ‘Savage life’ is depicted as a catastrophic form of life, which uses resources in a non-economic way due to its forgetfulness of the (...) future. The article shows how this notion of ‘savage life’ broadens the concept of liberal economic governmentality. Most importantly, it highlights the role of passions and futurity for liberal governmentality. As the discussion of Malthus’ texts demonstrates, the passions of hope and fear assume a crucial role for engendering futurity in the economic subject. As will be shown, while the more ‘savage life’ is considered to be made governable through fear, the more civilized life is supposed to be allured by hope. The article points out the implication of this analysis for Foucault’s notion of biopolitics in relation to liberal economy. (shrink)

Ephrem's own writings however frequently betray a familiarity with Greek philosophical ideas. This book first introduces Ephrem's intellectual context and his attitude towards learning.

This paper gives an overview about the transmission of Greek popular philosophical writings in Ethiopian literature. Information about the historical and religious background in Ethiopia until the 13th century is very scanty, and also the conditions of transmission of Greek philosophy in monastic circles are poorly attested. An analysis of the ambivalent attitude towards Greek philosophy and secular education in Syriac and Coptic monasticism could shed some light on intellectual preconditions in Ethiopian monasteries, because they were significantly influenced by these (...) circles. The manuscript tradition of relevant writings gives us an additional clue which themes and works were preferred among monks in Egypt. Manuscripts containing popular philosophy circulated in the existent network of monasteries in Egypt and Ethiopia, and an increased interest, especially in the 15th/16th centuries, in these writings give rise to their translation from Arabic into Ethiopic. (shrink)

A revised and enlarged version of Biologen unter Hitler, translated by Thomas Dunlap.

Este artigo trata de certos aspectos da compreensão heideggeriana da conexão entre espaço, arte e linguagem. Depois de explicitar o questionamento heideggeriano da visão metafísica do mundo e do espaço, a primeira seção desenvolve o caráter "acontecencial" e "espaciante" do espaço, bem como o jogo interativo do espaço com os seres humanos. A segunda parte ocupa-se do pensamento do Heidegger tardio, sobre a relação entre o espaço e as coisas, em particular as coisas específicas que são as obras de arte. (...) Como o morar humano no espaço pode ser pensado como habitação no espaço da linguagem, a última parte do artigo trata da conexão entre espaço e objetos de arte verbais. Nesse contexto, uma atenção especial é dedicada ao caráter imaginal do pensamento heideggeriano e ao caráter de nadidade do espaço e do morar humano no aberto entre a terra e o céu.This article treats some aspects of Heidegger's understanding of the interconnection of space, art and language. Beginning from the Heideggerian problematization of the metaphysical world-view and its concept of space, the first section develops the `occuring' and `spacing' character of space and the interactive interplay of space and human beings. The second part deals with Heidegger's later thinking of the relation between space and things and those specific things which are works of art. Since human dwelling in space may be thought of as inhabiting the space of language, the last part of the article treats the interconnection of space and art-works of language. In so doing it also turns its attention to the image-character of Heideggerian thinking and the nothingness-character of space and human dwelling in the interspace between earth and sky. (shrink)