Tieteelliseen tutkimukseen osallistuu nykyään muitakin kuin tutkijoita. Paikallisyhteisöjen edustajat, kokemusasiantuntijat tai vaikkapa taiteilijat saattavat tehdä yhteistyötä tutkijoiden kanssa. Yhdessä he etsivät kattavampaa ymmärrystä käytännön ongelmista ja entistä toimivampia ratkaisuja niihin. Tällainen tutkimus on liki vääjäämättä arvolatautunutta, mutta tulosten pitäisi kuitenkin olla objektiivisia. Miten tämä onnistuu? Tarjoan kysymykseen tieteenfilosofisen vastausehdotuksen.

Mitä tiedollista hyötyä tieteilijöille voi olla tutkimusyhteistyöstä taiteilijoiden kanssa? Taiteilijoiden kanssa työskennelleet tieteilijät usein kyllä pitävät kokemusta kiehtovana, mutta sen hyötyjen tarkka kuvaaminen vaikuttaa vaikealta. Monialaisen yhteistyön odotetaan usein lisäävän tutkimuksen yhteiskunnallista vaikuttavuutta, mutta odotus ei sovellu juuri tieteilijöiden ja taiteilijoiden yhteistyöhön kovinkaan hyvin. Selkeytän sosiaalisessa epistemologiassa ja feministisessä tieteenfilosofiassa esitettyjen ajatusten ja argumenttien sekä kahden tapausesimerkin avulla tapoja, joilla tieteilijöiden yhteistyö taiteilijoiden kanssa voi olla tiedollisesti hedelmällistä. Taiteen ja taiteellisen tutkimuksen keinoin voi joskus tuottaa tietoa. Tiedollisesti tärkeämpänä pidän (...) kuitenkin sitä, miten taide voi tarjota huomaamatta jääneitä näkökulmia sekä tutkimuskohteeseen että tutkimuksen tekemisen tapaan, ja tiedollisesti hyödyllistä kritiikkiä. (shrink)

Collected articles on spiritual life based on the life of Bābu Rāṇapurā, mystic-saint poet from Gujarat; previously published in Kacchamitra, a Gujarati daily.

Collected articles on spiritual life based on Bābubhāī Raṇapurā, 1940, Hindu saint; previously published in Kacchamitra, a Gujarati daily.

We examined the relationship between political affiliation, perceptual estimates, and subjective judgements of disease prevalence and mortality across three chart types. An online survey exposed separate groups of participants to charts displaying COVID-19 data or COVID-19 data labeled ‘Influenza ’. Block 1 examined responses to cross-sectional mortality data ; results revealed that perceptual estimates comparing mortality in two countries were similar across political affiliations and chart types, while subjective judgements revealed a disease x political party interaction. Although Democrats and Republicans (...) provided similar proportion estimates, Democrats interpreted mortality to be higher than Republicans; Democrats also interpreted mortality to be higher for COVID-19 than Influenza. Block 2 examined responses to time series ; Democrats and Republicans estimated greater slopes for COVID-19 trend lines than Influenza lines ; subjective judgements revealed a disease x political party interaction. Democrats and Republicans indicated similar subjective rates of change for COVID-19 trends, and Democrats indicated lower subjective rates of change for Influenza than in any other condition. Thus, while Democrats and Republicans saw the graphs similarly in terms of percentages and line slopes, their subjective interpretations diverged. While we may see graphs of infectious disease data similarly from a purely mathematical or geometric perspective, our political affiliations may moderate how we subjectively interpret the data. (shrink)

On Islam and state, and Islamic philosophy.

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

Previous studies on international reconciliation have focused on the security and economic interests of the countries involved, treating reconciliation as an end-goal rather than an ongoing process. This study divides the process of reconciliation into three stages., which refers to the mending of international relations through institutional change, is the most basic. In the phase, the perpetrator provides the victim with economic compensation for inflicting harm. The third stage,, is reached when the perpetrator acknowledges past wrongdoings and when civil and (...) cultural exchanges are carried out smoothly. (shrink)

What we regard as real are the objects of the phenomenal world which we perceive. We regard those that we see objectively, as in the third person perspective, as real. What then is the mind that pe...