The PBR theorem is widely seen as one of the most important no-go theorems in the foundations of quantum mechanics. Recently, in Cabbolet (Found Phys 53(3):64, 2023), it has been argued that there is no reality to the PBR theorem using a pair of bolts as a counterexample. In this addendum we expand on the argument: we disprove the PBR theorem by a generic counterexample, and we put the finger on the precise spot where Pusey, Barrett, and Rudolph have (...) made a tacit assumption that is false. (shrink)

Literary Forms of Argument in Early China examines the functions of rhetorical markers and devices as well as the patterns and larger modes structuring various styles of early Chinese argumentation. The nine contributors to the volume each present tight analyses of specific compositional or literary aspects of persuasion, hoping to demonstrate how an unabashed focus on the formal elements of philosophical writing might come to the aid of, or even more drastically alter and transform, philosophical interpretation. The volume includes essays (...) by the following nine scholars, who are at once a mixture of philologists, textual and literary specialists, and intellectual historians: Rudolph Wagner, Andrew Plaks, David... (shrink)

According to the standard account, logical positivism was the philosophical foundation of psychological neo-behaviorism. Smith (1986) has questioned this interpretation, suggesting that neo-behaviorism drew its philosophical inspiration from a different tradition, one more in keeping with naturalistic epistemology. Smith does not deny, however, the traditional interpretation of the philosophy of logical positivism, which sets it apart from naturalistic epistemology. In this article I suggest (following recent historical scholarship) that a more careful reading of the leading figure of logical positivism, (...) class='Hi'>Rudolph Carnap, shows an important naturalistic component in his philosophy. Hence, we must reevaluate our standard interpretation of the philosophy of logical positivism and its relation to psychological neo-behaviorism. (shrink)

Anton Wilhelm Rudolph Amo (1703–c. 1759 ce), philosopher and physician, was born at Axim, Ghana, and died at Fort Chama, Ghana. When he was four years old, the Dutch West Indies Company's preacher in Ghana sent him to Holland to be baptized and educated in the Bible for future service in Ghana. However, the Company headquarters, undesirous of any interference with its lucrative trade in slaves, turned little Amo over to the German Duke Anton Ulric‐Wolfenbuttel.

In the recent past, several papers have pointed to the possibility that tumour removal generates a permissive environment in which tumour growth is potentiated. This phenomenon has been coined “perioperative tumour growth” and whilst it represents a departure in terms of our attitude to the surgical process, this concept was first hinted at by Paget1Sir James Paget (1814–1899) was a surgeon and physiologist who is widely held (along with Rudolph Virchow) to be the father of the science of pathology. (...) Paget described Paget's disease of the nipple as well as Paget's disease of bone. himself. Despite this, the time interval immediately before and after cancer surgery (i.e. the perioperative period) remains an underutilised interval during which chemotherapeutic regimens are rarely implemented. Herein, we present a summarised review of the literature that supports the concept that tumour removal may potentiate the growth of residual neoplastic disease. We also outline current knowledge regarding underlying mechanisms and in this manner highlight potential therapeutic entry points. Finally, we emphasise the urgent need for trials of agents that could protect patients against the harmful host–tumour interactions that may occur during the perioperative period. BioEssays 28: 433–437, 2006. © 2006 Wiley Periodicals, Inc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Otto Rudolph Ortmann, Music Philosophy, and Music EducationDavid J. GonzolWhat is music? What should we teach when we teach music? How should we? In the early twentieth century, these most foundational questions relating to music education were addressed by the highly regarded, though less well known, educator and researcher, Otto Rudolph Ortmann. In 1922, he published an article in which he outlined a theory of musical experience, (...) developing aspects of the physics of sound, qualitative theory, and Gestalt psychology, prefiguring important ideas in music philosophy. Ortmann highly valued his theory, utilized it in other research throughout his career, and influenced others such as Carl Seashore. Few, however, seem to be aware of his work or its implications for music education.1The seminal 1922 article, "The Sensorial Basis of Music Appreciation," was written while Ortmann was teaching at the Peabody Conservatory of Music and Johns Hopkins University in Baltimore, Maryland.2 While this article has received little attention, much of his other research has been widely and well received.3 "Papa Ortmann," well beloved of family and students, had a career Gerig characterized as "a wedding between Materia Medica and Frau Musica."4 A prolific [End Page 160] researcher, superb musician, and excellent teacher, he published articles on music theory (one of which was reprinted and extended in 1983), musicology, music reading, ear training, synesthesia, and jazz.5 His research on piano performance, particularly his two books,6 is regarded as definitive; it has been discussed in a thesis and four dissertations; some of it has been replicated. In Famous Pianists and Their Technique, Gerig devoted a chapter to Ortmann.7 Ortmann's theory of listening types, in effect a theory of music cognition,8 was accepted by Robert Neidlinger, Doreen Rao, and Bennett Reimer.9 In the 1992 Handbook of Research on Music Teaching and Learning, F. R. Wilson and F. L. Roehmann praised the significance of Ortmann's body of research as undiminished in importance in music education.10It may be that Ortmann's "Sensorial Basis"theory received little attention at the time because too few were interested in such theories or in the synthesizing of science and psychology or the touching on philosophy that he employed. Although he influenced Seashore, the philosophical issues he began to explore would be developed more strongly only decades later, by philosophers such as Monroe Beardsley, Peter Kivy, and Jerrold Levinson. It seems that Ortmann's theory not only prefigures some ideas in recent music philosophy, but supports them as well. If it does, then our increased understanding of music can provide a firmer basis for developing better music education-one of Ortmann's aims. In this article I will describe his theory, sketch how it aligns with subsequent research, and consider its value today. Ortmann attempted a comprehensive explanation of music's nature; as far as his explanation is accurate, that far it can help us understand music and in turn music education.Three "Attributes"At the turn of the 1900s, it was popular to refer to "attributes" of sound. Ortmann posited that all sensation, including sound, has three types of attributes. The primary attribute he termed extensity, by which he meant the breadth of the sensation that is perceived. Extensity has three forms, transtensity (frequency), intensity (strength), and protensity (duration). These can be perceived individually but also as sound's secondary attributes, chief of which is quality. Tertiary attributes of sound are made through association, either by (a) contiguity, linking a sound's quality with things experienced near in time to the sound, or by (b) similarity, associating the quality with sensations of like extensity (for example, the expressive brightness of a sound and a light). Ortmann believed that tertiary attributes form "the threshold of musical imagination, and imagination in turn, of musical enjoyment."11 Accordingly, he concluded that music could express many things, and that this is dependent on listeners, their individual histories, and their entire field of sensations. [End Page 161]The Primary Attribute of ExtensityIn the Renaissance, Benedetti and Galileo found that pitch was related to frequency, and in 1702, Sauveur was the first to state that overtones affect timbre. In 1863, Helmholtz... (shrink)

"Homage to Rudolph Carnap."--Hempel, C. G. Rudolf Carnap, logical empiricist.--Wedberg, A. How Carnap built the world in 1928.--Eberle, R. A construction of quality classes improved upon the Aufbau.--Carnap, R. Observation language and theoretical language.--Kaplan, D. Significance and analyticity: a comment of some recent proposals of Carnap.--Wójcicki, R. The factual content of empirical theories.--Williams, P. M. On the conservative extensions of semantical systems: a contribution to the problem of analyticity.--Winnie, J. A. Theoretical analyticity.--Wedberg, A. Decision and belief in science.--Bohnert, H. (...) G. Carnap's logicism.--Hintikka, J. Carnap's heritage in logical semantics.--Partee, B. H. The semantics of belief-sentences.--Kasher, A. Pragmatic representations and language-games.--Carnap, R. Notes on probability and induction.--Jeffrey, R. C. Carnap's inductive logic.--Hilpinen, R. Carnap's new system of inductive logic.--Kuipers, T. A. F. A generalization of Carnap's inductive logic. Essler, W. K. Hintikka versus Carnap.--Hintikka, J. Carnap and Essler versus inductive generalization.--Shimony, A. Carnap on entropy, introduction to "Two essays on entropy" by Rudolf Carnap. (shrink)

Hz. Peygamberin vefatıyla birlikte, hilâfet tartışması başta olmak üzere ashap birçok problemle karşı karşıya kalmış, sorunlar çözülmüş gibi görünse de bu dönem, sonradan ortaya çıkacak olan mezhep ve fırkaların oluşum sürecini tetiklemiştir. Hilâfetin ilk otuz yılında yaşanan olumsuz hadiselere, Emevî devletinin kurucusu Muâviye (ö. 60/680)’nin izlediği siyaset anlayışından kaynaklanan bazı olumsuzluklar da eklenince ümmet arasında fırkalaşma dönemi başlamıştır. Önce bazı Emevî sonra da bazı Abbasî halifelerinin yanlış uygulamalarına şahit olan Ebû Hanîfe (ö. 150/767), çözüm odaklı görüşleriyle ümmetin bu ihtilaf dönemine (...) damga vurmuştur. O, aklî bilgiyi önceleyen ve nassların açıklanmasında kullanan düşünürlerin başında gelmektedir. Onun itikadî eserleriyle İslâm düşüncesine kazandırdığı yenilikçi yaklaşım özellikle de akaide dair ilk metin kabul edilen el-Âlim ve’l-müte‘allim’deki görüşleri, eleştiri oklarının kendisine yönelmesine sebep olmuş, onu hadis taraftarlarının galiz ithamlarının hedefi yapmıştır. Ehl-i Rey’in lideri ve Mürcie’nin iman akîdesinin destekçisi olmasının da bu eleştirilerde payı büyük olmuştur. Ayrıca onu kendilerinden sayan Mu‘tezile’ye eleştiriler yöneltmesi; Mu‘tezile mensuplarınca onun herhangi bir itikadî eseri olmadığı iddialarını dillendirmesine sebep olmuştur. Diğer taraftan Zehebî, el-Âlim ve’l-müte‘allim’in Ebû Hanîfe’ye değil, Ebû Mukātil es-Semerkāndî’ye nispet edildiğini söylemiştir. Bu görüş F. Kern, J. Schacht, W. Madelung ve U. Rudolph gibi bazı müsteşrikler tarafından kabul görmüş ve Ebû Hanîfe’ye nispet edilen itikad eserlerinin otantik olup olmadığı tartışmalarını beraberinde getirmiştir. Özellikle Schacht tarafından bazı varsayımlar yapılarak, el-Âlim ve’l-müte‘allim’in Ebû Hanîfe’ye aidiyeti reddedilmiştir. Hatta Schacht bu eseri ilk dönemin Mürcie kaynaklarından biri kabul ederek, Ebû Hanîfe’ye ait olmayışının en büyük delili saymıştır. Ancak Âlimlerin çoğunluğuna göre el-Âlim ve’l-müte‘allim ve kendisine nispet edilen diğer eserlerindeki itikadî görüşler Ebû Hanîfe’ye aittir. Bu kanaatin oluşmasında etkili olan en büyük faktör, Hanefî-Mâtürîdî ekolünün mimarlarından olan Mâtürîdî (ö. 333/944) olmuştur. O, el-Âlim ve’l-müte‘allim’in râvilerinden birisi olduğu gibi, Te’vîlât’ında bu eseri Ebû Hanîfe’ye nispet etmiş ve eserden nakillerde bulunmuştur. Onun Kitâbü’t-Tevhîd’deki büyük günahlara dair görüşleri de el-Âlim ve’l-müte‘allim’de bu konuda yer verilen görüşlere benzemektedir. Bu araştırmada; el-Âlim ve’l-müte‘allim’in rivayet zincirinde bulunan ve eserin Semerkant’ta yayılışına katkı sunan âlimler hakkında kısaca bilgiler verilmiştir. Eserin içeriğini oluşturan itikadî münakaşalardan; imanın mahiyeti, iman-amel ayrılığı, imanda eşitlik, din-şeriat ayrımı, büyük günah ve ircâ meseleleri o günün güncel konularıdır. Bu başlıklar üzerinden, eserin Mâtürîdî üzerindeki önemli izleri de tespit edilmeye çalışılmıştır. Hanefî-Mâtürîdî düşüncenin itikadî nüvesini teşkil eden bu eserin, günümüze kadar geçirdiği sürecin değerlendirilerek kaynak kritiğinin yapılmış olması, araştırmayı benzerlerinden ayırmaktadır. (shrink)

Bioethical Prescriptions collects F.M. Kamm's articles on bioethics -- revised for publication in book form -- which have appeared over the last 25 years and which have made her among the most widely-respected philosophers working in this field.

In lieu of an abstract, here is a brief excerpt of the content:Guided Rapid Unconscious Reconfiguration in Poetry and ArtRoger SeamonThe idea that literary works are designed to give pleasure does not get much exercise these days. So I would like to take it out for a walk. We’ll see where it takes us, how much ground it covers, and what friends it makes along the way. Perhaps if we take it off the leash of theory, it will roam far (...) enough afield.... By this time you are bored with my metaphor, and thus have made a judgment about the use of a trope that is often said to be at the heart of poetry. 1 What I want to do is give an account of the principle that led to that judgment, for it is the same principle, I shall argue, that governs judgments about the aesthetic dimension of literary works.I first encountered the idea in F. W. Bateson’s English Poetry: An Introduction, where he labels it the “The Principle of the Semantic Gap.” Poetry, Bateson says, does not consist of the transference of feeling from poet to reader (the Romantic and expressive view which he opposes), but of “the successful collocation of contrasted or conflicting ‘meanings,’” 2 and he traces the theory back to Coleridge’s idea that poetry consists in the “balance or reconciliation of opposite or discordant qualities” (Biographia Literaria, chap. xiv). Contrasted meanings defeat normal expectations, so the reader is forced to bridge (apparent) gaps in order to make sense of the words, and it is that collaboration between author and reader that constitutes poetic activity. The theory is, though Bateson does not present it as such, a reworking of the ancient notion that in a successful work of art we perceive unity in variety. This essay is an effort to extend and defend that theory in its modern form, particularly as it relates to literary works.The modern theory came into being because of a change in the [End Page 412] object of aesthetic analysis from the work and what it imitated to the psychology of the audience:Up to the eighteenth century the theory of art in the Western world was dominated by ancient philosophy. It was most of all Plato’s metaphysics which, in a number of variations and even distortions, attributed to the artist the capacity of perceiving the divine ideals of beauty beyond the world of the senses and embodying them in his creations. The rejection of this mystical view of art in the course of the eighteenth century... was bound to make theorists turn to psychology. 3It is within this psychological tradition that the modern version of unity and variety has been developed.Re-castings of the ancient formula for aesthetic value have been done by (at least) five recent theorists. Given that one can probably trace the twentieth-century revival back to Gestalt psychology, it is not surprising that the earliest of the four is Rudolph Arnheim. In an essay on “Order and Complexity in Landscape Design” he defines order as “the degree and kind of lawfulness governing the relations among the parts of an entity,” and complexity as “the multiplicity of the relationships among the parts of an entity.” 4 Arnheim then psychologizes (rather than “cosmologizes”) these concepts by grounding them in the propensity to be perceptually satisfied by a balance between the two: “Complexity without order produces confusion; order without complexity produces boredom” (p. 124). Similarly, in The Act of Reading Wolfgang Iser says:The reader’s enjoyment begins when he himself becomes productive, i.e., when the text allows him to bring his own faculties into play. There are, of course, limits to the reader’s willingness to participate, and these will be exceeded if the text makes things too clear or, on the other hand, too obscure: boredom and overstrain represent the two poles of tolerance, and in either case the reader is likely to opt out of the game. 5In the same vein, Francis Sparshott asserts in The Theory of the Arts that “Beauty occupies the ground between cliché and chaos,” with variety protecting against the former, unity protecting against the latter, 6 and in The Sense of... (shrink)

Vorwort, von R. Loosen und F. Vonessen.--Leibniz und das binäre Zahlensystem, von F. Vonessen.--Das Geheimnis der Schöpfung; Neujahrsbrief an Herzog Rudolph August von Braunschweig-Lüneburg-Wolfenbüttel, von G. W. Leibniz.--Leibniz und die chinesische Philosophie, von R. Loosen.--Lettre sur la philosophie chinoise à Nicolas de Remond. Abhandlung über die chinesische Philosophie. Von G. W. Leibniz. Anhang: Anmerkungen, Abkürzungen (bibliographical: p. [133-153]--Nachwort: Zur fünftausendjährigen Geschichte des binären Zahlensystems: Fuh-Hi, G. W. Leibniz, Norbert Wiener, von J. Gebser.

Der Beschreibung der zeitlichen Entwicklung lebender Systeme kann eine reine Differentialanalyse nicht genügen. In solchen Fällen muss man sich an Stelle der gewöhnlichen Differentialgleichungen der integraldifferentiellen, bezw. der Integralgleichungen bedienen. Zur leichteren Veranschaulichung der mathematischen Darstellung betrachtet Verfasser zuerst diejenigen Systeme, deren innerer Zustand sich durch ein einziges Parameterc bestimmen lässt. Die zeitliche Entwicklung eines leblosen Systems dieser Klasse werde durch die Differentialgleichung $$\frac{{dc}}{{dt}} = kf...$$ dargestellt, wot=Zeit, undk eine Funktion der äusseren Parameterα, Β, γ. ist. Im Falle eines jeden (...) Systems sind die äusseren Parameterα, Β, γ. charakteristische individuelle Funktionen der Zeit. Misst manc am. Zeitpunktt, so lässt sich die Zukunft des Systems vermittelst der Gleichung berechnen, wenn die zukünftigen Werte der äusseren Parameter gegeben sind. Solche Systeme nennt Verfasser nicht-historische Systeme. Im Falle der lebenden Systeme werde die zeitliche Entwicklung durch die Integral-differentialgleichung $$\frac{{dc}}{{dt}} = k_1 f_1 + \mathop \smallint \limits_{t - \lambda }^t k_2 f_2 dt........$$ dargestellt, wof 1 undf 2 Funktionen des Zustandsparametersc, undk 1 undk 2 Funktionen der äusseren Parameter sind. Das Zeitintegral erstreckt sich auf das vergangene Zeitintervalt-λ →t, woλ einen positiven endlichen konstanten Wert besitzt. Diese Systeme nennt Verfasser historische Systeme. Setzt manH für das darin enthaltene Integralglied, so verwandelt sich die Gleichung in: $$\frac{{dc}}{{dt}} = k_1 f_1 + H..........$$ Misst man nunc am Zeitpunktt, so kann man in diesem Fall die Zukunft des Systems ohne Kenntnis des historischen GliedsH nicht berechnen. Das Vorkommen des historischen IntegralgliedsH nennt Verfasser Chronoholismus. Man kann deshalb die historischen Systeme auch chronoholistische Systeme nennen. Die biologische Interpretation dieser Betrachtungsweise wird vom Verfasser diskutiert, und die Gleichung auf Systeme mit erblichen Eigenschaften ausgedehnt. Es werden zuletzt Systeme mit vielen Zustandsparametern in gewissen einfachen Fällen kurz behandelt. L'analyse différentielle ne suffit pas, selon l'avis de de l'auteur, pour la description de l'évolution des systèmes vivants au cours des temps. Il faut utiliser dans ces cas les équations intégro-différentielles ou intégrales. Pour faciliter le traÎtement mathématique, on peut considérer d'abord les systèmes dont l'état intérieur est défini par un seul paramètrec. L'évolution d'un système inanimé de cette classe se laisse décrire par l'équation différentielle $$\frac{{dc}}{{dt}} = k f,...........$$ oùt=temps, etk est une fonction déterminée des paramètres extérieurs α,Β, γ. Si l'on connaÎtc à un temps donnét, l'état du système à un temps futurt′ se laisse prévoir au moyen de l'équation, quand les valeurs des paramètres extérieurs dans l'intervallet → t∼' sont fixées. L'auteur appelle les systèmes de cette classe des systèmes non-historiques. Pour les systèmes vivants, il faut se servir, selon l'avis de l'auteur, des équations intégro-différentielles. Pour les systèmes définis par un seul paramètrec, on peut se servir, par exemple, de l'équation $$\frac{{dc}}{{dt}} = k_1 f_1 + \mathop \smallint \limits_{t - \lambda }^t k_2 f_2 dt........$$ où k1 et k2 sont des fonctions déterminées des paramètres extérieurs. L'intégrale s'étend sur l'intervallet-λ→ t où λ est positif et constant. En indiquant le terme intégral par le symboleH, on peut écrire $$\frac{{dc}}{{dt}} = k_1 f_1 + H..........$$ La connaissance de c à un temps donnét ne laisse pas prévoir l'état du système à un temps futurt′ sans connaissance du terme historiqueH, quand mÊme les paramètres α, Β, γ,..., seraient des fonctions déterminées du temps dans l'intervallet→t′. L'auteur appelle l'existence du terme intégral historiqueH le chronoholisme. On peut appeler les systèmes de cette classe des systèmes historiques ou chronoholistiques. L'interprétation biologique de cette faÇon de traÎter les systèmes vivants est discutée par l'auteur, qui étend l'équation pour le faire représenter aussi les propriétés héréditaires des Êtres vivants. Quelques cas de systèmes dont l'état intérieur est défini par plusieurs paramètres et plusieurs phases sont traités brièvement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coleridge’s Intellectual Intuition, the Vision of God, and the Walled Garden of “Kubla Khan”Douglas HedleyIn his seminal work of 1917 Das Heilige Rudolph Otto quotes a number of passages as instances of the “Numinose.” Alongside those quotations from more conventional mystics, Plotinus, and Augustine, Otto refers to Coleridge’s “savage place” in Kubla Khan. 1 It is also pertinent that, when trying to define Romanticism, C. S. Lewis appeals (...) to the longing for the “unnameable something” fired by “morning cobwebs in late summer” or the “opening lines of Kubla Khan.” 2 Perhaps it is a mere coincidence that two of the most penetrating and influential scholars of religion in the twentieth century should appeal to Coleridge and his poem “Kubla Khan.” I wish to suggest reasons why the link between the imagery of “Kubla Khan” and a mystical experience of transcendence is not merely fortuitous. Indeed the connection between Coleridge’s mature writing and the imagery of the poem shows that we have good reason for seeing him as consciously writing, both as a poet and as a philosopher, within a visionary mystical tradition. I propose that it is no accident that Coleridge’s most visionary poem draws upon the central Christian image of paradise: the walled garden.This is an attempt not to interpret “Kubla Khan” but rather to suggest Coleridge’s place in the history of ideas as a Christian poet and philosopher. He is best described as an essentially speculative and mystical philosopher-theologian. 3 [End Page 115] By “speculative” I mean a theology inspired by those Church Fathers who emphasize the “vision” of God as an intellectual contemplation (speculari) of the transcendent Absolute, the prius of all being. The scholastics, the medieval German mystics, the Cambridge Platonists, and some of the German Idealists have all been influenced by such a speculative impulse. 4 Hegel uses the term “speculative” for his Dialectic. 5A philosophical or “speculative” approach to theology has invoked hostility from Tertullian onwards. Coleridge’s philosophy of religion often excited the fear of the new pantheistic German theology. John Henry Newman castigated Coleridge’s speculation as more heathen than Christian. Yet the speculative movement in theology spawned both a radical and a conservative wing, and we have to judge Coleridge’s thought in the light of the more conservative branch of nineteenth-century Idealism. D. F. Strauss jettisoned the transcendent “yonder” of traditional theology in favor of his philosophical or “scientific” approach to Christianity. Coleridge, however, could not adhere to theology of immanence; he wished to present a theology of an adamantly transcendent character.The walled garden is an eminently appropriate image of transcendence and was used as such by the fifteenth-century Christian Platonist Nicholas of Cusa, who is one of the links between Patristic theology and German Idealism. I shall draw upon his book The Vision of God as a paradigm of the sort of speculative mysticism which informs Coleridge’s metaphysics and much of his poetry. 6 Reflection upon an exotic poetic image may help us to clarify one of Coleridge’s philosophical tenets; the walled garden can be seen to symbolize that transcendent numinous reality, which the soul inchoately and barely consciously seeks and strives for.Coleridge’s “Mysticism” and the Imagery of “Kubla Khan”Richard Holmes claims that the “Kubla Khan” provides evidence of a transition in Coleridge’s interests and presents this switch from “classical and religious mythology” to the “drama of self-knowledge... the growth of consciousness and civilisation” as a key to Coleridge’s poetry. Holmes writes: [End Page 116][H]is instinct that the modern Epic subject must now centre on “the mind of man,” through “travels, voyages and histories,” shows a shift of poetic focus characteristic of the new Romantic age. The Epic could no longer draw on classical or religious mythology for the framework of its action. It must become contemporary with the world of scientific, anthropological, and psychological exploration: it must centre in some way on the drama of self-knowledge, on the growth of consciousness and civilisation. 7Coleridge would not have seen a conflict between the drama of self-consciousness and classical and religious mythology. In “Kubla... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a number (...) of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

Der Streit um den Humanismus ist älter als das Wort. Was die Sache selber sei, ist aber schon zur Zeit der griechischen Klassik umstritten. Seit Humanismus auch noch als Epochenbegriff verwendet wird, konkurrieren sogar Humanismen im Plural miteinander. Dabei versuchen die unterschiedlichen Richtungen, den Begriff für sich zu besetzen, ja zu monopolisieren. Freilich entstehen bald auch ausdrückliche Antihumanismen, die nur insofern humanistisch bleiben, als sie sich weiterhin der griechisch-römischen Antike verpflichtet fühlen: eine andere, zum Beispiel "archaische" und "heroische" Antike der (...) wie auch immer "humanen" konfrontieren. Seitdem gibt es einen Humanismusstreit im engeren und bis heute andauernden Sinn. Entscheidende Voraussetzung dafür ist, dass Humanismus stets Antike-Rezeption und Humanität zugleich meinte, also auch "Humanitarismus" gewesen ist. - Vorwort - I. Antiker und moderner Barmherzigkeitsdiskurs - H. Cancik: Entrohung und Barmherzigkeit, Herrschaft und Würde. Antike Grundlagen von Humanismus - F. Hartmann: "Das Wohlergehen des Kranken... oberster Grundsatz"? Über Menschlichkeit und Menschen-Heilkunde - II. Menschenrechtsdiskurse und ihre Problematik - A. Haratsch: Entstehung und Entwicklung der Menschenrechte - E. Stölting: Humanismus und Eurozentrismus - C. Elsas: Potentiale religiös-kultureller Traditionen zur Achtung von Menschenrechten - K. Meyer: Feminismus zwischen Neo- und Posthumanismus. Betrachtungen zu Martha Nussbaum und Judith Butler - III. Antihumanistische Diskurse des späten 19. und 20. Jahrhunderts - E. Flaig: Kultur und Krieg. Antihumanismus bei Jakob Burckhardt und Friedrich Nietzsche - Richard Faber: Humanistische und faschistische Welt. Über Ludwig Curtius (1874-1954) - E. Rudolph: Humanismus und Antihumanismus im Streit. Cassirer und Heidegger in Davos - A. Geisenhanslüke: Antihumanismus? Über Michel Focault und die Folgen - IV. Prohumanistische Plädoyers bis heute - A.-U. Sommer: Franz Overbeck, ein skeptischer Humanist? - G. Wedekind: Europa im Exil. Erich Auerbachs säkulare Weltbürgerschaft - C. Türcke: Die Falle der Selbstentfaltung. Humanismus und kritische Theorie. (shrink)

In a discussion-note in Mind, Father P. M. Farrell, O.P., gave an account, in what he admitted to be an embarrassingly brief compass, of the Thomist doctrine concerning evil. There is one sentence in this discussion which at first glance appears paradoxical. Father Farrell has been arguing that a universe containing ‘corruptible good’ as well as incorruptible is better than one containing ‘incorruptible good’ only. He continues: ‘If, however, they are to manifest this corruptible good, they must be corruptible and (...) they must sometimes corrupt.’ The final words, despite Father Farrell's italics, strike one as expressing, not a self-evident truth, but a non sequitur. The fact that I am capable of committing murder does not entail that I will at some time commit it. It is not immediately obvious that a similar entailment holds in the case of corruption and corruptibility. (shrink)