The paper approaches the problem of rationality on the basis of the theory of action elaborated in ParsonsParsons, Talcott’ The Structure of Social Action of 1937. The voluntaristic action frame of reference, as it was called, implies the opportunity of choice in the course of actions. Predictability of the consequences of a course of action, as a prerequisite of choice, requires rational empirical knowledge and logical consistency. Choices are also dependent on norms and values, as well as on affective meanings, (...) the balancing of which requires complex calculations of costs and advantages or utilities. Appreciation of rational knowledge implies – and depends upon – a commitment to norms of rationality. The limits of rationality are set by irrationality in the sense of deviance from normative standards, but also by non-rational and non-logical factors such as tradition, religion, or art. The work of ParetoPareto, Vilfredo is taken as an important reference point as it is acknowledged to be “the most ambitious attempt to achieve a generalized formulation of a total social system of rational action.”. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and—due to its unique in situ, immersive setting—is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing (...) a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson’s exhibition “Baroque, Baroque” held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers’ attention to both installed artworks and/or to the museum environment. The data showed differences in participants’ emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers’ appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

Keine ausführliche Beschreibung für "Beiträge zur mittelassyrischen Chronologie und Geschichte" verfügbar.

In this essay I focus on Wittgenstein's discussion of how we understand and feel about people that come from cultures very different from our own. Wittgenstein writes about "guessing thoughts", "regularities", and "common human behaviour" (gemeinsame menschliche Handlungsweise) in this context. I argue that his idea about given forms of life that we should "accept", will be problematic if we want to find a meaningful way of relating to such people with whom we "cannot find our feet" (in die man (...) sich nicht finden kann). (shrink)

Hermann Schmitz has developed a “New Phenomenology.” It emphasizes fundamental conceptions that undercut traditional subject-object distinctions. In the Chinese classic The Zhuangzi we find stories that describe involvements and dialogue that can be seen as doing something similar. I will bring out some of these parallels. In particular I will focus on freedom and mutual understanding.

?06?Rudolf Arnheim, der am 15. Juli 2004 seinen 100. Geburtstag feiert und heute in Ann Arbor lebt, hat sich zeit seines Lebens intensiv mit den Medien künstlerischer Produktion auseinandergesetzt. Seine wichtigsten medientheoretischen Aufsätze, entstanden über einen Zeitraum von 74 Jahren, stellen eine maßgebliche Ergänzung seiner Hauptwerke Film als Kunst und Rundfunk als Hörkunst dar und sind hier erstmals vollständig versammelt. Arnheims medientheoretische Überlegungen nehmen dabei in der Regel ihren Ausgang beim einzelnen Medium - bei der Photographie, dem Rundfunk und insbesondere (...) beim Film - und belegen in eindrucksvoller Weise seine produktive Auseinandersetzung mit konstruktiven formästhetischen Fragen.?15? Rudolf Arnheim, der am 15. Juli 2004 seinen 100. Geburtstag feiert und heute in Ann Arbor lebt, hat sich zeit seines Lebens intensiv mit den Medien künstlerischer Produktion auseinandergesetzt. Seine wichtigsten medientheoretischen Aufsätze, entstanden über einen Zeitraum von 74 Jahren, stellen eine maßgebliche Ergänzung seiner Hauptwerke Film als Kunst und Rundfunk als Hörkunst dar und sind hier erstmals vollständig versammelt. Arnheims medientheoretische überlegungen nehmen dabei in der Regel ihren Ausgang beim einzelnen Medium - bei der Photographie, dem Rundfunk und insbesondere beim Film - und belegen in eindrucksvoller Weise seine produktive Auseinandersetzung mit konstruktiven formästhetischen Fragen.?01?Arnheim, RudolfRudolf Arnheim war mehr als nur ein Zeitzeuge des vergangenen Jahrhunderts, er war einer der herausragenden Kunst- und Medientheoretiker der Gegenwart. Schon zu Beginn des vergangenen Jahrhunderts publizierte er in zahlreichen Zeitschriften, wie etwa der Weltbühne, und legte bereits 1932 mit Film als Kunst ein Buch vor, das bis heute als Klassiker der Filmtheorie gilt. Nach seiner Emigration unterrichtete er an zahlreichen amerikanischen Universitäten und widmete sich dabei insbesondere Fragen der Wahrnehmungs- und Medientheorie. Zu seinem Geburtstag am 15. Juli 2004 erschien mit Die Seele in der Silberschicht ein Band, der seine wichtigsten medientheoretische Aufsätze, die über einen Zeitraum von 74 Jahren entstanden sind, versammelt und eine maßgebliche Ergänzung seiner Hauptwerke Film als Kunst und Rundfunk als Hörkunst darstellt. Arnheims medientheoretische Überlegungen nehmen dabei meist ihren Ausgang beim einzelnen Medium bei der Photographie, dem Rundfunk und insbesondere beim Film und belegen in eindrucksvoller Weise seine produktive Auseinandersetzung mit konstruktiven formästhetischen Fragen. Am 9. Juni 2007 ist Rudolf Arnheim im Alter von 102 Jahren verstorben. (shrink)

With his “Structural Text Analysis” M. Titzmann tries to give the basic notions of a semiotic theory of interpretation. In spite of this extensive and systematic representation, some problems arise: the additive conception of pragmatics, the static-referential notion of sign, the rigid definition of meaning, the rejection of any alternative interpretation. The possibility of application of the proposed method would depend to a large extent on these points.

A nonlinear partial differential equation is derived which admits plane solitary waves on a conformally flat Riemannian space-time. The metric is determined by the amplitude of these waves. By interpreting these solitary waves as particles we arrive at the following picture: these particles are confined to regions exhibiting singular (very large) amplitudes in an otherwise continuous wavetrain. There is, thus, no distinction between the notion of a particle and that of a wave.

When one searches for the origins of an educational connection between Benedictine scholars and the University of Paris, one must reflect for a long time before arriving at even vague answers.1 Perhaps one may find these origins in the career of Jean Mabillon, the French Benedictine who gave diplomatic criticism a scientific foundation in history. The Reform congregation of the Maurists also attempted to make an impressive connection between the monastic life and the pursuit of education and research. History as (...) a science benefited in particular from the work of these highly educated Benedictines. The center of this new kind of scholarship was formed by the Benedictine... (shrink)

Complexity is one of the most promising fields of modern science, and this book explores the new perspectives opening up when we consider systems made up of many similar or identical constituents.

The _Grundriss der Geschichte der Philosophie_ is the most comprehensive history of philosophy ever published in any language. Since the publication the initial volume in 1863 it has been the aim of this vast scholarly undertaking to elucidate philosophical systems and schools of thought as completely and objectively as possible. Thanks to these merits the _GGPh_ has become the standard work of reference on the history of philosophy for entire generations of scholars, teachers and students of all academic domains. While (...) the first editions had only three volumes, the completely revised new edition published by Schwabe Verlag in Basel, Switzerland, since 1988 is going to comprise of more than 30 volumes. Applying highest scholarly standards, the editors aim at balanced, well-informed presentations of of highest objectivity of individual philosophers, traditions of thought and of philosophical debates. (shrink)