Tras el referente de las cuatro mil personas que posaron desnudas ante la cámara del fotógrafo Tunick, el autor aborda la intimidad corporal desenmascarada y propone desnudar también el comportamiento, mostrar en toda su magnitud qué somos y qué nos falta. Postula que la debilidad de los cuerpos individuales sobrelleva la fortaleza de la masa, la rebelión, el desafío. Traspasado el umbral de las prohibiciones y las inhibiciones, la performance sería un acto de provocación política, haciendo una recuperación de lo (...) que ya no nos pertenece pues lo han usurpado y capitalizado las instituciones, educacionales, comerciales, económicas, militares y políticas. Nuestra biología está moldeada por las instituciones. (shrink)

Immer öfter werden der Natur eigene Rechte zugesprochen. Rund um den Globus helfen sie gefährdeten Ökosystemen, sich gegen schädliche Wirtschaftsinteressen zu verteidigen. Seit ihrer Einführung in die ecuadorianische Verfassung im Jahre 2008 wurden Rechte der Natur unter anderem in Bolivien, Kanada, Kolumbien, Neuseeland und den USA eingeführt. Zuletzt in Spanien zum Schutz einer Salzwasserlagune. Dieses Buch zeigt, wie die Idee der Rechte der Natur entstand, wie sie immer mehr an Fahrt aufnahm und wie sie uns künftig helfen kann, die Natur (...) und gefährdete Ökosysteme zu schützen. Dabei begibt es sich auf die Reise durch verschiedene Länder und Kontinente und stellt konkrete Anwendungsfälle und Initiativen vor. (shrink)

Production of Presence is a comprehensive version of the thinking of Hans Ulrich Gumbrecht, one of the most consistently original literary scholars writing today. It offers a personalized account of some of the central theoretical movements in literary studies and in the humanities over the past thirty years, together with an equally personal view of a possible future. Based on this assessment of the past and the future of literary studies and the humanities, the book develops the provocative thesis (...) that, through their exclusive dedication to interpretation, i.e. to the reconstruction and attribution of meaning, the humanities have become incapable of addressing a dimension in all cultural phenomena that is as important as the dimension of meaning. Interpretation alone cannot do justice to the dimension of "presence," a dimension in which cultural phenomena and cultural events become tangible and have an impact on our senses and our bodies. Production of Presence is a passionate plea for a rethinking and a reshaping of the intellectual practice within the humanities. (shrink)

Nasr (Islamic studies, George Washington U.), in a series of ten lectures, argues that, unlike in the West, where scientific thought has been secularized, in the East, knowledge and religious experience have remained unified. Drawing from Buddhist, Hindu, Judaic, Christian, and Islamic traditions, he finds in each the idea of perennial wisdom as a philosophical basis for such unity. Paperback edition ($10.95) not seen. A reprint of the 1987 original with a new (short) preface. The paper edition (06459-4) is available (...) for $13.50. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

Comparative biological morphology, incorporating the study of active reaction, is contrasted with genetics as the study of passive mutation. Geneticists investigate anatomical characters, never anatomical constructions, which are capable of reorganization when the biological-morphological equilibrium of the organism has been disturbed. The anatomy of Opisthocomus cristatus and Stringops habroptilus demonstrate that three successive disturbances in the bio-morphological equilibrium are reacted to purposively by anatomical reconstruction. These reactions are no accidental mutations, but are anatomical reactions, related to, and affecting, the organism (...) as a whole. In sharp contrast to such anatomical reaction, resulting, during phylogeny, in reorganization, are the “technics” [i.e., mechanistic bases] of individual development. The hereditary process is, like every physiological or embryological process, a fixed mechanism, which remains constant until an active reaction leads to reconstruction and at the same time an appropriate change of the mechanisms. The remolding of species is therefore no passive, “technical” process, but a creative act of the organisms themselves. [Original English abstract; not translated.]. (shrink)

The ethical aspects of placebo control in clinical trials have been extensively and controversially debated in the last decade. However, a thorough analytical comparison of the different existing international regulations, their terminologies and their ethical principles concerning placebo, is still missing. The central issue in the ongoing controversy is the justification of placebo‐use, if proven treatment exists. All present versions of the examined guidelines propose such justifications, but each guideline differs from the others in relevant details. Therefore the conditions justifying (...) placebo‐use according to each guideline are the focus of our attention. We will first propose a formalized general principle that defines the ethical acceptability of placebo‐use. Then we will analyse three categories of conditions put forward by the different documents: the risk of harm or burden, compelling scientific reasons, and the availability of proven treatment. The analysis shows important normative discrepancies and contradictions between the examined guidelines. Especially striking is the fact that some guidelines allow the participants in clinical trials to be exposed to a risk of serious harm, while others do not. Finally, we try to show how the normative difference of each guideline could influence the decision of researchers or IRBs concerning the ethical acceptabililty of placebo‐use. (shrink)

When it comes to understanding the ontology of individual existence-that is the everyday behaviors that we all perform and hardly ever think about-the voice has a particularly complicated status. Together with writing, voice is the medium expressing ideas that, broadly speaking, we have previously formed in our minds. At the same time, voices trigger vague images and associations that do not have determinate forms. They remain in our memory, and we may even "hear" them as if immediately present, but we (...) are unable to detach the propositional contents they articulate from the centrifugal effects that they have on our lives. Writing in both a personal and philosophical register, Hans Ulrich Gumbrecht explores the complexity of the voice as an understudied philosophical, social, and existential phenomenon. He starts out with a focus on its core intellectual problem as "the knot of the voice" - referring to the inseparable proximity between meanings, images, and the physical perceptions on which they depend. In conversation with Nietzsche, Husserl, Heidegger, Derrida, Lyotard, Luhmann, and above all Roland Bartes, Gumbrecht addresses topics that range from the social functions of the voice to its status in different historical contexts, and to the ways in which the perception of voices animates imagination. Throughout, incisive analyses of moments such as Julius Caesar's purportedly high-pitched voice, the surprisingly fragile authority of God's voice in the Torah and in the Gospel, and Gumbrecht's own personal attachment to the voices of popular singers such as Edith Piaf, Elvis Presley, and Adele, create a portrait of the voice that is both philosophically challenging and entertaining to read. (shrink)

This collection of speeches and essays clarifies Gadamer's thoughts on the power of language, the social role and influence of science, and the idea of reason. He argues that the theoretical pursuit of truth is valuable for its own sake, and devalued when pursued explicitly for practical purposes.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The last few years have been good for time machines. Kip Thorne's renowned general relativity group at Caltech invented a new quantum gravitational approach to building a time gate, and, in an international collaboration, gave a plausible rebuttal of "grandfather paradox" arguments against time travel. Another respected group suggested time machines that exploit quantum mechanical time uncertainty. The technical requirements for these suggestions exceed our present capabilities, but each new approach seems less onerous than the last. There is hope yet (...) that time travel will eventually become possible, even cheap. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)