Arne Grøn’s reading of Søren Kierkegaard’s authorship revolves around existential challenges of human identity. The 35 essays that constitute this book are written over three decades and are characterized by combining careful attention to the augmentative detail of Kierkegaard’s text with a constant focus on issues in contemporary philosophy. Contrary to many approaches to Kierkegaard’s authorship, Grøn does not read Kierkegaard in opposition to Hegel. The work of the Danish thinker is read as a critical development of Hegelian phenomenology with (...) particular attention to existential aspects of human experience. Anxiety and despair are the primary existential phenomena that Kierkegaard examines throughout his authorship, and Grøn uses these negative phenomena to argue for the basically ethical aim of Kierkegaard’s work. In Grøn’s reading, Kierkegaard conceives human selfhood not merely as relational, but also a process of becoming the self that one is through the otherness of self-experience, that is, the body, the world, other people, and God. This book should be of interest to philosophers, theologians, literary studies scholars, and anyone with an interest not only in Kierkegaard, but also in human identity. (shrink)

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to the (...) activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identify its importance for the field of visual culture. (shrink)

The relation of the special and the general principle of relativity to the principle of covariance, the principle of equivalence and Mach's principle, is discussed. In particular, the connection between Lorentz covariance and the special principle of relativity is illustrated by giving Lorentz covariant formulations of laws that violate the special principle of relativity: Ohm's law and what we call “Aristotle's first and second laws.” An “Aristotelian” universe in which all motion is relative to “absolute space” is considered. The first (...) law: a free particle is at rest. The second law: force is proportional to velocity. Ohm's law: the current density is proportional to the electrical field strength. Neither of these laws fulfills the principle of relativity. The examples illustrate, in the context of Lorentz covariance and special relativity, Kretschmann's critique of founding Einstein's general principle of relativity on the principle of general covariance. A modification of the principle of covariance is suggested, which may serve as a restricted criterium for a physical law to satisfy Einstein's general principle of relativity. Other objections that have been raised to the validity of Einstein's general principle of relativity are based upon the preferred state of inertial frames in the general, as well as in the special theory, the existence of tidal effects in “true” gravitational fields, doubts as to the validity of Mach's principle, whether electromagnetic phenomena obey the principle, and, finally, the anisotropy of the cosmic background radiation. These objections are reviewed and discussed. (shrink)

The complex gestures of artwork remain an under-explored theoretical topos in contemporary visual culture studies. In our turbulent mediasphere where images are constantly mobilized to enact symbolic forms of warfare and where they get entangled in all kinds of cultural conflicts and controversies, a turn to the gestural life of images promises a particularly pertinent avenue of intellectual inquiry. As both a cultural phenomenon and a philosophical concept, the notion of gesture straddles several disciplines, such as anthropology, linguistics, performance, theater, (...) film and visual studies. In this volume, contributors ask: How may one speak not only of the gestures of the body but also of the gestures of the image? What constitutes gesturality in the image and, more broadly, what are the gestures of the aesthetic itself? By thinking about images within this conceptual framework, this volume seeks to renew our understanding of the image. (shrink)

A rotating disk with angular acceleration is given a relativistic description as observed from the rotating rest frameR of the disk. It is shown how a non-Euclidean intrinsic spatial geometry develops inR, as the disk gets an angular velocity. The explanation of this as given by anR-observer is discussed. A recent description of the geometry inR presented by Grünbaum and Janis is criticized. The motion of light as described by use of coordinate clocks inR is discussed in connection with some (...) recent work by R. C. Jennison and coworkers. The significance of the difference between directed signals and circular waves when clocks inR are to be synchronized by means of light emitted from the axis inR is made clear. (shrink)

Movements, in the last fifty years, have been bringing knowledge closer to the new knowledge coming from the neurosciences. In this brief essay, we intend to analyze neuropsychoanalysis and neuroaesthetics, as promising areas in these terms. Such an analysis will be based on critical theory, conceptualized mainly by Adorno and Horkheimer, especially considering that “On the path to modern science, men renounced meaning and replaced the concept with the formula, the cause with the rule and probability”. Therefore, in relation to (...) neuropsychoanalysis, its historical and scientific foundations, the international movement that gave rise to the area, its purposes and objections attributed to it will be analyzed. Regarding neuroaesthetics, its emergence, its relations with conceptual art and the neurohistory of art will be presented, as well as possible intrinsic parallels to sensation and experience. Finally, following the objective of the essay, the epistemological critique of these areas will be done through the concepts of Gestell (Heidegger) and Ecosofia (Guattari), as well as supported by Valéry and Teresa D’Ávila. (shrink)

Claudia Welz and René Rosfort: Introduction: A Negativistic Approach to Existential Hermeneutics Stefano Micali: Anxiety between Dialectics and Phenomenology René Rosfort: Kierkegaard and the Problem of Ethics Mads Peter Karlsen: The Past >Has Us Before We Have.

Observation of online forums is a relevant methodological approach for researchers in several disciplines. However, ethical guidelines on such observations challenge the ethically concerned researcher. In this paper, I reflect on how I carried out my observation of an online weight-loss forum, and how I could have conducted it differently to meet ethical standards and the demands of high-quality research. After receiving approval from the forum administrators to observe the forum, information about my project on obesity was posted online. Some (...) of the participants reacted negatively to my presence in the forum. This paper draws on the evolving discussion between researcher and participants on the complex issue of research ethics, particularly informed consent, in studying closed forums on the Internet. It is suggested that evaluating whether participants are harmed is more important than the public/private divide when considering whether informed consent is necessary. (shrink)

Tematisk introduktion til Søren Kierkegaards (1813-1855) tankeverden udfra hovedværket "Begrebet Angest".

This book provides a comprehensive, critical overview of the turn to ethics in literature, film, and visual culture. It discusses the concept of a biovisual ethics, offering a new theory of the relation between film and ethics based on the premise that images are capable of generating their own ethical content. This ethics operates hermeneutically and materializes in cinema's unique power to show us other modes of being. The author considers a wealth of contemporary art films and documentaries that embody (...) ethical issues through the very form of the text. The ethical imagination generated by films such as The Nine Muses, Post Tenebras Lux, Amour, and Nostalgia For the Light is crucially defined by openness, uncertainty, opacity, and the refusal of hegemonic practices of visual representation. (shrink)

In this article, I argue that one has yet to acknowledge the extent to which the notion of the aesthetic and its content is institutionally negotiated. A central question that we ought to bear in mind is: does the organization of “aesthetic knowledge” that the traditional disciplines facilitate promote or prevent insight into meta-aesthetic and transaesthetic concerns?

It is shown that the equation deduced by Marinov for the gravitational frequency shift does not follow from his assumptions. The correct equation is deduced. It is pointed out that the result of Marinov's absolute spacetime theory concerning the gravitational frequency shift is contained in general relativity as an approximate description. The need for experiments testing the validity of Marinov's measurements is emphasized.