ObjectiveTo apply a socioecological approach to identify risk and protective factors across levels of the “sports-ecosystem,” which are associated with mental health outcomes among athletes in para-sports and non-para sports. A further aim is to determine whether para athletes have unique risks and protective factor profiles compared to non-para athletes.MethodsA cross-sectional, anonymous online-survey was provided to all categorized athletes aged 16 years and older, registered with the Australian Institute of Sport. Mental health outcomes included mental health symptoms, general psychological distress, (...) risky alcohol consumption and eating disorder risk. Risk and protective factors across multiple levels of the socioecological model, including individual, microsystem, exosystem and macrosystem level factors were assessed via self-report.ResultsA total of 427 elite athletes participated in the study. No significant differences in the rates of mental health problems were observed between para and non-para athletes. Both differences and similarities in risk and protective factor profiles were found across the multiple levels of the sports-ecosystem. Weak evidence was also found to support the hypothesis that certain risk factors, including experiencing two or more adverse life events in the past year, sports related concussion, high self-stigma, inadequate social support and low psychological safety conferred a greater risk for poorer mental health outcomes for para athletes in particular.ConclusionRisk factors occurring across various levels of the sports ecosystem, including individual, interpersonal and organizational level risk factors were found to be associated with a range of poorer mental health outcomes. The association between mental ill-health and certain risk factors, particularly those at the individual and microsystem level, appear to be greater for para athletes. These findings have important implications for policy and mental health service provision in elite sports settings, highlighting the need for more nuanced approaches to subpopulations, and the delivery of mental health interventions across all levels of the sports ecosystem. (shrink)

Guilt and shame are self-conscious emotions with implications for mental health, social and occupational functioning, and the effectiveness of sports practice. To date, the assessment and role of athlete-specific guilt and shame has been under-researched. Reporting data from 174 junior elite cricketers, the present study utilized exploratory factor analysis in validating the Athletic Perceptions of Performance Scale, assessing three distinct and statistically reliable factors: athletic shame-proneness, guilt-proneness, and no-concern. Conditional process analysis indicated that APPS shame-proneness mediated the relationship between general (...) and athlete-specific distress. While APPS domains of guilt-proneness and no-concern were not significant mediators, they exhibited correlations in the expected direction with indices of psychological distress and well-being. The APPS may assist coaches and support staff identify players who may benefit from targeted interventions to reduce the likelihood of experiencing shame-prone states. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

The objective list theory of well-being holds that a plurality of basic objective goods directly benefit people. These can include goods such as loving relationships, meaningful knowledge, autonomy, achievement, and pleasure. The objective list theory is pluralistic (it does not identify an underlying feature shared by these goods) and objective (the basic goods benefit people independently of their reactive attitudes toward them). In this paper, I discuss the structure of this theory and show how it is supported by people's considered (...) judgments. I then respond to three objections. First, I argue that there is no conceptual reason to favor a monistic theory of well-being over a pluralistic one (such as the objective list theory). Second, I argue that states of affairs can benefit people even though they hold no positive reactive attitudes toward them. And, third, I argue that objective list theorists can identify a fairly-determinate list of basic goods. (shrink)

Nach Euklid: Raumgeschichten in Philosophie, Wissenschaft und Literatur der Moderne. Dieser Band rekonstruiert Raumentwürfe aus der Philosophie Husserls und Cassirers, der Gestaltpsychologie, der Kunstgeschichte Riegls und Einsteins, schließlich Rilkes und Musils literarische Räume. Um 1900 verliert die Geometrie ihre Anschaulichkeit: Mehrdimensionale und nicht-euklidische Räume lassen sich nicht mehr vor Augen führen. Welchen Effekt hat dieser epistemologische Bruch auf jene Disziplinen, für die bis dahin Euklids Geometrie als Modell eines exakten und zugleich anschaulichen Wissens galt? Wie verändern sich die Raumkonzepte in (...) Philosophie, Wissenschaft und Literatur, wenn sich ihre Weltbilder nicht mehr in einem dreidimensionalen, kartesischen Gehäuse unterbringen lassen? (shrink)

Deepfakes are fake recordings generated by machine learning algorithms. Various philosophical explanations have been proposed to account for their epistemic harmfulness. In this paper, I argue that deepfakes are epistemically harmful because they undermine trust in recording technology. As a result, we are no longer entitled to our default doxastic attitude of believing that P on the basis of a recording that supports the truth of P. Distrust engendered by deepfakes changes the epistemic status of recordings to resemble that of (...) handmade images. Their credibility, like that of testimony, depends partly on the credibility of the source. I consider some proposed technical solutions from a philosophical perspective to show the practical relevance of these suggestions. (shrink)

Kant taught us that there are two kinds of norms: Categorical imperatives that one ought to follow regardless of one's personal aims and circumstances, and hypothetical imperatives that direct us to employ the means towards our chosen ends. Kant's distinction separates two approaches to normative epistemology. On the one hand, we have principles of "inductive rationality", typically supported by considerations such as intuitive plausibility, conformity with exemplary practice, and internal consistency. On the other hand, we may assess rules for forming (...) belief by how well they attain the objectives that motivate inquiry; in Levi's words, "the ends of inquiry control the legitimacy of inferences" [Levi 67, p. 241]. A doctrinaire attitude would ignore one of these perspectives in favour of the other; a balanced approach is to develop both and compare [cf. Helmann 97, Sec.2]. There are three possible relationships between hypothetical and categorical imperatives for empirical inquiry. (shrink)

This first-time translation makes available to English-speaking readers a seminal essay in Latin American thought by one of Latin America's leading intellectuals. Originally published in Mexico in 1957, The Role of the Americas in History explores the meaning of the history of the Americas in relation to universal history. Amy A. Oliver's introduction provides an excellent overview of such major themes in Zea's thought as marginality, humanism, Catholicism and Protestantism, philosophy of history, and liberation.

Yah boo sucks to the grammer wot we lernt in skool! Grammar (and the bad old traditional logic) says that quantifier phrases such as 'nobody', 'everyone', 'all women', 'some men' and 'a man' are in the same category as names such as 'Milly', 'Molly' and 'Mandy'. So, prior to their first corrective lessons, students are awfully muddled, the first and fundamental problem being the Woozle hunt for somebody called 'nobody'. Hoorah for modern logic and logic teachers! The story used to (...) justify our current logics is entirely fictional. The claims about names and quantifier phrases in English are wildly false. Two of the heroes of modern logic, Russell and Hilbert, make the very mistakes which are falsely blamed on traditional logic. The villain, Meinong, turns out to have been working a different patch. Ideas ascribed to traditional grammar are modern inventions. Neither logicians nor grammarians can be trusted to tell the history of either grammar or logic. (shrink)

In this paper, I argue for a novel reading of Spinoza’s position in his exchangewith Boyle about Boyle’s experiment with nitre. Boyle claimed to have shownthrough experiments that nitre ceased to be nitre after heating. Spinozadisagreed and proposed the alternative hypothesis that nitre has changed itsstate and not its nature. Spinoza’s position was construed in the literature asrational scepticism denying that experiments can yield knowledge ofessences because all sensory experience is underdetermined and open tomultiple interpretations. I argue for an alternative (...) reading of Spinoza’sposition which focuses on Bacon’s notion of crucial instance. According tothis reading, Spinoza did not deny the possibility of knowing byexperimentation whether nitre has changed its nature, he asked for a crucialinstance, i.e. an experiment that would refute the hypothesis that nitre haschanged merely its state. Spinoza’s argumentative strategy shows that,contrary to the mainstream reading, the representational content of sensoryideas can be determined even if it does not represent the essence of theobject: we can know with absolute, rather than merely moral, certaintywhether nitre ceased to be nitre without knowing what nitre is. (shrink)

A crucial insight in Michelman’s ‘Constitutional Essentials’ is that constitutions may serve a justificatory or proceduralizing aim in modern liberal democracies. Yet the pervasiveness of moral disagreement – all-the-way-up; all-the-way-down – suggests, as I will argue, a democratic-experimentalist turn, which focuses on a non-hierarchical process of stakeholder deliberation and the court’s role in instigating and overseeing that process, ensuring non-domination. I believe that Frank is exactly right in arguing that a liberally justification-worthy political framework-law-in-place is normatively necessary for democratic politics (...) to succeed in divided societies. But I want to suggest that democratic experimentalism can offer further support to this claim. (shrink)

In this chapter, Kelly Oliver argues that while risk-benefit analysis may be necessary in a crisis situation such as the Covid-19 pandemic, that does not make it ethical. To the contrary, risk-benefit analysis is antithetical to ethics defined as responsibility to the singularity of each living being. Triage medicine, developed for the battlefield during wartime, relies on risk-benefit calculations. For example, calculations about which patient has the best chance for survival, or which patient has the best chance of quality (...) of life or continued longevity. In the current pandemic, these calculations were based on population categories of health such as diabetes, coronary disease, obesity, and age, along with assessments of the individual patient’s condition. While such assessments may meet practical policy demands, ultimately, they are not ethical. In the end, she argues for what she calls “response ethics” as an alternative to utilitarian risk-benefit analysis. (shrink)

Managing grand challenges demands a relational leader who encourages collaboration, coordination, and trust with various stakeholders. Although leaders appear to play a critical role in addressing grand challenges, relatively little research exists about the factors that inform stakeholder perceptions of leaders during a grand challenge. To address this limitation, we integrate implicit leadership theory and gender role theory to consider stakeholders’ gender prescriptive expectations when evaluating leader effectiveness during the COVID-19 pandemic. We theorize that stakeholders advantage female leaders based on (...) mental schemas of what is required in a pandemic—relational leadership—and stakeholders’ prescriptive expectations of female leaders as more relational. Using a laboratory experiment, we find that female leaders are perceived as more relational, and hence, more effective than their male counterparts. Our findings advance scholars’ and practitioners’ understanding of strategic leadership, stakeholder management, and grand challenges. (shrink)

I argue that Helen Knight and Margaret Macdonald expressed views on the nature of ‘good’ in aesthetic contexts which anticipate to a striking extent the dispute between Peter Geach and R. M. Hare over ethical uses of ‘good’ several years later. I show that Knight introduced a distinction between uses of adjectives later drawn also by Geach, and that she employed that distinction, as Geach did, in order to defend a descriptivist approach to ‘good’ according to which ‘good’ is not (...) ambiguous. I also show that Macdonald conceived of evaluative statements as commendatory, and that her conception of evaluative language therefore closely resembles the position which Hare would later advance. (shrink)

Dummctt argues that classical quantification is illegitimate when the domain is given as the objects which fall under an indefinitely extensible concept, since in such cases the objects are not the required definite totality. The chief problem in understanding this complex argument is the crucial but unexplained phrase 'definite totality' and the associated claim that it follows from the intuitive notion of set that the objects over which a classical quantifier ranges form a set. 'Definite totality' is best understood as (...) disguised plural talk like Cantor's 'consistent multiplicity', although this does not help in understanding how a totality could be anything other than definite. Moreover, contrary to his claims, Dummett's own notion of set is not intuitive and he does not demystify the set-theoretic paradoxes. In conclusion, it is argued that Dummett's context principle is responsible for the incoherent projection of the haziness of a conception of some objects onto reality. (shrink)

In this paper I argue against Michael Morris’ claim, that the Tractatus view involves holding that the possibility of truth-functional combination is prior to the possibility for sentential constituents to combine with one another. I provide an alternative interpretation in which I deny the presence of any distinction in the Tractatus between these two possibilities. I then turn to Adrian Moore’s ‘disjunctivist’ account of sentencehood, itself inspired by the Tractatus view. I argue that Moore’s account need not involve a commitment (...) to the kind of priority Morris describes, and that it need not involve a commitment to transcendental idealism. (shrink)

In his essay “Logical Empiricism”, in the anthology Twentieth Century Philosophy, Professor Feigl writes: “All forms of empiricism agree in repudiating the existence of synthetic a priori knowledge.” Schlick makes the same point even more forcibly: “The empiricism which I represent believes itself to be clear on the point that, as a matter of principle, all propositions are either synthetic a posteriori or tautologous; synthetic a priori propositions seem to it to be a logical impossibility.” The denial of synthetic a (...) prioris is a major thesis of the logical empiricist position, being found in the writings of most of the leaders of the movement. The reason for its importance is fairly clear. It provides a formula on which the empiricists can base their critique of traditional philosophy. To use Ayer's phrase, denial of the synthetic a priori results in “the elimination of metaphysics”. The philosophical tradition to which the empiricists are opposed and whose “metaphysics” they wish to eliminate can be called, somewhat loosely, rationalism. (shrink)

I begin to suggest an alternative to the notion of vision based in alienation and hostility put forth by Jean-Paul Sartre, Sigmund Freud, and Jacques Lacan. I diagnose this alienating vision as a result of a particular alienating notion of space presupposed by their theories. I develop lrigaray's comments about light and air to suggest an alternative notion of space that opens up the possibility that vision connects us to others rather than alienates us from them.

Der Aufsatz kritisiert den unrealistischen Politikbegriff vieler der aktuell boomenden Theorien politischer Imagination. Mit dem Ziel der Entwicklung einer realistischen politischen Theorie der Imagination wird der Begriff der politischen Einbildungskraft mit dem der Entscheidung konterkariert und das Werk von Cornelius Castoriadis mit dem von Ernesto Laclau kontrastiert. Anhand einer Diskussion der Subjekt- und Entscheidungstheorie Laclaus in ihrem Verhältnis zur Imagination erweist sich, dass Dezisions- und Imaginationstheorien im Rahmen eines realistischen Ansatzes aufeinander verwiesen bleiben müssen, denn ihre jeweiligen Defizite, die sich (...) postfundamentalistisch auf die ontologische Defizienz der Gründe zurückführen lassen, können nur im wechselseitigen Verweis von Imagination auf Dezision und von Dezision auf Imagination bearbeitet werden. (shrink)

Wie verhalten sich Körper und Geist oder Natur und Freiheit zueinander und welche Rolle spielt der Lebensbegriff bei der Bestimmung des Verhältnisses der Begriffe? Die Erarbeitung der „Funktionen des Lebendigen“ kann als ein vielschichtiges Arbeitsprogramm verstanden werden, mit dem eine zentrale Problemlage unserer Zeit, unserer Gesellschaft und unserer Technik erschlossen werden kann. In der Verbindung des methodologischen Begriffs der Funktion mit dem phänomenalen Begriff des Lebendigen liegt ein philosophisches, wissenschaftstheoretische und kulturreflexives Potential. Denn zum einen ist der Funktionsbegriff ein Schlüsselbegriff (...) im Diskurs der Moderne, gerade im Kontext von anthropologischen, lebensphänomenologischen und bioethischen Fragen. Und zum anderen stellt das Phänomen des Lebendigen nach wie vor eine der großen Herausforderungen für das philosophische Denken dar, sei es in ontologischer, anthropologischer oder ethischer Hinsicht. Die Beiträge dieses Bandes beleuchten die unterschiedlichen Problemdimensionen des Lebendigen durch begrifflich-systematische Überlegungen ebenso wie spezielle Analysen zu Formen, Normen, Erfahrungen und Grenzen des Lebendigen. (shrink)

Numerous instruments have been developed to elicit numerical values that represent the strength of preference for different health states. However, relatively few studies have attempted to analyse the reasoning processes that people employ when they are asked to answer questions based on these elicitation methods. The lottery equivalents method is a preference elicitation instrument that has recently received some attention in the literature. This study attempts a qualitative analysis of the use of this instrument on a group of 25 relatively (...) highly educated respondents. For each of three health states considered in the study, a substantial number of respondents refused to trade the chance of survival for a possible improvement in the health state. Therefore, many respondents violated an assumption that is necessary for the lottery equivalents instrument to generate cardinal health state values. These findings place a question mark against the usefulness of the lottery equivalents method, and add weight to the suspicion that ‘preferences’ are constructed according to how questions are framed. (Published Online July 31 2007). (shrink)

C. S. Peirce's indictment that "the chief cause of [metaphysics'] backward condition is that its leading professors have been theo (Collected Papers 6:3) falls heavily at my door. For it logians" was out of reflection upon religious experience and its meaning that the present relational metaphysic was conceived. My hope, however, is that its scope is sufficiently wider than its theological origins to justify its appearance as a work in philosophy. Having been nurtured in existential philosophy and having reached some (...) measure of maturity with the wise counsel of Professor Dr. Fritz Buri, of Basel, I came to feel that theology as a modern discipline had reached an impasse owing to its overextended commitments to a subject-object paradigm of thought. Even those theologians who despaired of these ties seemed unable to find an independent alternative idiom for their ideas. A second tension in my thinking resulted from the inordinate neglect by theologians of the natural world. Also, my natural interest in physical understanding seemed unfulfilled within the narrow confines of theology, even of philosophical theology as then practiced. As I turned decisively toward the study of modern physics, and especially of cosmology, a new world seemed to open up to me. After extensive study with prominent astronomers and physicists, it began to dawn on me that the new physics has devised conceptual paradigms of thought which could be generalized into a metaphysical system of universal interest. (shrink)