Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Previous reports have demonstrated that the comprehension of sentences describing motion in a particular direction (toward, away, up, or down) is affected by concurrently viewing a stimulus that depicts motion in the same or opposite direction. We report 3 experiments that extend our understanding of the relation between perception and language processing in 2 ways. First, whereas most previous studies of the relation between perception and language processing have focused on visual perception, our data show that sentence processing can be (...) affected by the concurrent processing of auditory stimuli. Second, it is shown that the relation between the processing of auditory stimuli and the processing of sentences depends on whether the sentences are presented in the auditory or visual modality. (shrink)

Population counts and longitude and latitude coordinates were estimated for the 50 largest cities in the United States by computational linguistic techniques and by human participants. The mathematical technique Latent Semantic Analysis applied to newspaper texts produced similarity ratings between the 50 cities that allowed for a multidimensional scaling (MDS) of these cities. MDS coordinates correlated with the actual longitude and latitude of these cities, showing that cities that are located together share similar semantic contexts. This finding was replicated using (...) a first‐order co‐occurrence algorithm. The computational estimates of geographical location as well as population were akin to human estimates. These findings show that language encodes geographical information that language users in turn may use in their understanding of language and the world. (shrink)

Pathological morphogenesis on leaves of Fraxinus ornus (ash) and Solanum lycopersicum (tomato) under the influence of mites (Aceria fraxinivora and Eriophyes cladophthirus respectively) leads to a range of structures whose morphology and development cannot be reduced to the classical categories of plant morphology, but present a heterogeneous continuum which links fundamental structural categories. These findings support the pyramid model of plant construction.

The studies in this book set out to examine the labile resonances of phenomenology and art in Michel Henry, by examining the different figures of movement given to the concept of the aesthetic by the philosopher. They are preceded by one of Michel Henry’s own texts. Les études qui composent ce livre proposent d’interroger les résonances labiles de la phénoménologie et de l’art chez Michel Henry, en examinant les différentes figures du déplacement imprimé par le philosophe au concept d’esthétique. Le (...) tout est précédé d’un texte de Michel Henry. (shrink)

v. 1. A-D -- v. 2. E-L -- v. 3. M-Z -- v. 4. Verzeichnisse.

Frauen sind ängstlich, Männer sollen mutig sein. Bei dieser Behauptung handelt es sich zwar nicht um ein wörtliches Zitat von Kant, doch gibt sie seine Auffassung recht genau wieder. Und sie kann in gewisser Weise als geradezu paradigmatisch für die Geschlechterspezifik von Emotionen stehen, so wie Kant sie sieht. Nun ließe sich einwenden, bei Ängstlichkeit und Mut handele es sich nicht um Emotionen, sondern um Charaktereigenschaften. Das soll natürlich nicht bestritten werden. Doch sind sie ebenso wie zahlreiche andere, etwa die (...) Schamhaftigkeit, eng mit den entsprechenden Emotionen verbunden: sich ängstigen, sich schämen. Zudem benutzt Kant des Öfteren den die Charaktereigenschaft bezeichnenden Ausdruck, meint aber das Gefühl. Das ist insbesondere in von ihm selbst nicht publizierten Notizen, etwa den Reflexionen der Fall. Das gleiche gilt für die von Studierenden eilig mitgeschriebenen Vorlesungen, die oft nur in Form weiterer Nachschriften vorliegen. Hierzu ist anzumerken, dass sowohl Kants Notizen oder den Reflexionen finden) als auch die Mit- und Nachschriften der Vorlesungen seine Auffassung möglicherweise in geringerer Authentizität wiedergeben als die von ihm selbst publizierten Schriften. Das wird an Ort und Stelle nicht jeweils eigens erwähnt, sondern ist stets mitgedacht. Denn ich werde zur Untersuchung der Geschlechterspezifik von Emotionen bei Kant wiederholt sowohl auf die Bemerkungen und Reflexionen als auch auf Vorlesungsnachschriften zurückgreifen müssen, sind sie doch weitaus ergiebig als seine Schriften, von denen nur die Beobachtungen und die Anthropologie in pragmatischer Hinsicht ausführliche Überlegungen zu unserem Thema enthalten. (shrink)

According to general relativity, we live in a four-dimensional curved universe. Since the human mind cannot visualize those four dimensions, a popular analogy compares the universe to a two-dimensional rubber sheet distorted by massive objects. This analogy is often used when teaching GR to upper secondary and undergraduate physics students. However, physicists and physics educators criticize the analogy for being inaccurate and for introducing conceptual conflicts. Addressing these criticisms, we analyze the rubber sheet analogy through systematic metaphor analysis of textbooks (...) and research literature, and present an empirical analysis of upper secondary school students’ use and understanding of the analogy. Taking a theoretical perspective of embodied cognition allows us to account for the relationship between the experiential and sensory aspects of the metaphor in relation to the abstract nature of spacetime. We employ methods of metaphor and thematic analysis to study written accounts of small groups of 97 students who worked with a collaborative online learning environment as part of their regular physics lessons in five classes in Norway. Students generated conceptual metaphors found in the literature as well as novel ones that led to different conceptions of gravity than those held by experts in the field. Even though most students showed awareness of some limitations of the analogy, we observed a conflict between students’ embodied understanding of gravity and the abstract description of GR. This conflict might add to the common perception of GR being counterintuitive. In making explicit strengths and weaknesses of the rubber sheet analogy and learners’ conceptual difficulties, our results offer guidance for teaching GR. More generally, these findings contribute to the epistemological implications of employing specific scientific metaphors in classrooms. (shrink)

Business Ethics, the Environment &Responsibility, EarlyView.

This is the first full English translation of Bernard Bolzano's masterwork, the Theory of Science (1837)--a monumental and revolutionary study in logic, epistemology, heuristics, and scientific methodology. Each volume includes an introduction which illuminates the historical context of Bolzano's work and its continuing relevance.

In everyday life, as well as in science, we have to deal with and act on the basis of partial (i.e. incomplete, uncertain, or even inconsistent) information. This observation is the source of a broad research activity from which a number of competing approaches have arisen. There is some disagreement concerning the way in which partial or full ignorance is and should be handled. The most successful approaches include both quantitative aspects (by means of probability theory) and qualitative aspect (by (...) means of graphical or causal models or logic). Some of these approaches have important impacts on various disciplines including philosophy, computer science, statistics, mathematics, physics, and social science. Most notably, the relation between causal and probabilistic information is a topic of interest in all of these fields. (shrink)

The isolation principle rests on defining internal and external differentiation for each subset of at least two objects. Subsets with larger external than internal differentiation form isolated groups in the sense that they are internally cohesive and externally isolated. Objects that do not belong to any isolated group are termed solitary. The collection of all isolated groups and solitary objects forms a hierarchical (encaptic) structure. This ubiquitous characteristic of biological organization provides the motivation to identify universally applicable practical methods for (...) the detection of such structure, to distinguish primary types of structure, to quantify their distinctiveness, and to simplify interpretation of structural aspects. A method implementing the isolation principle (by generating all isolated groups and solitary objects) is proven to be specified by single-linkage clustering. Basically, the absence of structure can be stated if no isolated groups exist, the condition for which is provided. Structures that allow for classifications in the sense of complete partitioning into disjoint isolated groups are characterized, and measures of distinctiveness of classification are developed. Among other primary types of structure, chaining (complete nesting) and ties (isolated groups without internal structure) are considered in more detail. Some biological examples for the interpretation of structure resulting from application of the isolation principle are outlined. (shrink)

En radicalisant le projet d'une phénoménologie de l'affectivité, en interrogeant l'abîme intérieur de l'éprouver, et en y resaissisant la source de toute création possible, cet ouvrage fait de la question du pâtir le point de départ d'une nouvelle théorie de l'agir.

Foucaults Werk hat nicht nur die Kultur- und Sozialwissenschaften entscheidend beeinflusst. Das Handbuch gibt einen systematischen Überblick über Foucaults Leben und Werk. Es stellt die Kontexte dar, aus denen heraus seine Werke entstanden sind und erklärt Grundbegriffe des Foucault‘schen Denkens wie Archiv, Biopolitik, Diskurs, Dispositiv, Genealogie, Körper und Macht. Mit einem umfangreichen Kapitel zur Rezeption in den verschiedenen Disziplinen. Für die 2. Auflage wurde das Handbuch durchgesehen und aktualisiert sowie um neue Artikel zu Foucaults journalistischen und medizingeschichtlichen Arbeiten sowie zu (...) seinen Vorlesungen über das Wahrsprechen und zur Ödipus-Thematik erweitert. Außerdem setzt sich ein Beitrag ausführlich mit dem 2018 posthum erschienenen vierten Band der Geschichte der Sexualität auseinander. (shrink)

Form and Painting. The work process of vase painters in South Italy. A case study at the vases of the Museum für Kunst und Gewerbe Hamburg Mostly ancient Greek vases are subjects of studies of iconographic issues, of association with other archaeological material and of their context. During the researches of the south Italian redfigure vases of the late-classical period for the CVA Hamburg 2 there were recognized some technical details, that had not taken notice of or that were insufficiently (...) differentiated in former researches. This case study exposes in detail the single, one by one succeeding steps of the production of a vase by the potter and the painter. (shrink)