'My endeavour in these pages is to explain the main features of the method of philosophizing which we, the Vienna Circle, use, and by using try to develop further. It is the method of the logical analysis of science, or more precisely, of the syntactical analysis of scientific language.... The purpose of the book -- as of the lectures -- is to give a first impression of our method and of the direction of our questions and investigations to those who (...) are not yet acquainted with them.' -- From the Preface. (shrink)

"Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...

Clear, comprehensive, intermediate introduction to logical languages, applications of symbolic logic to physics, mathematics, biology.

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Cette édition numérique a été réalisée à partir d'un support physique, parfois ancien, conservé au sein du dépôt légal de la Bibliothèque nationale de France, conformément à la loi n° 2012-287 du 1er mars 2012 relative à l'exploitation des Livres indisponibles du XXe siècle. Pages de début Avant-propos La réduction phénoménologique et la double vie du sujet I - Intentionnalité et intersubjectivité 1. Intentionnalité et transcendance (Husserl et Heidegger) 2. Le concept de noème (Husserl) 3. Le monde (Husserl) II - (...) Perception 1. Finitude et téléologie de la perception (Husserl) 2. Perception et herméneutique (Husserl, Cassirer et Heidegger) 3. Perception et vie naturelle (Husserl et Merleau-Ponty) III - Temporalité, historicité, langage 1. Origine du temps et temps originaire (Husserl et Heidegger) 2. La présence du passé (Husserl) 3. L'encadrement du souvenir (Husserl, Proust et Barthes) 4. La voix de son maître (Husserl et Derrida) Conclusion Pages de fin. (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

SUNY series in contemporary continental philosophy.

Samples of Steiner's work are to be found in this introductory reader in which Andrew Welburn brings together excerpts from Steiner's many talks and writings on Religion. This volume also features an editorial introduction, commentary and notes. Topics include: mysticism and beyond: the importance of prayer; the meaning of sin and grace; rediscovering the Bible; true communion; rediscovering the festivals and the life of the earth; finding one's destiny: walking with Christ; the significance of religion in life and death; Christ's (...) second coming: the truth for our time; universal religion: and the meaning of love. (shrink)

3 lectures, Dornach, May 1920 (CW 74) Steiner begins these three lectures by depicting the background of early Christian thought, from which scholastic philosophers arose. He focuses on the "unanswered question" of the scholastic movement: How can human thinking be made Christlike and develop toward a vision of the spiritual world? A study of subsequent European thought, especially that of Kant, leads to the possibility of deepening into spiritual perception the scientific thinking that arose from scholasticism. Steiner explains that, since (...) the beginning of the twentieth century, this is true Christianity. CONTENTS The Hymn of Boethius Introduction Prayer of Thomas Aquinas Three Lectures on the Philosophy of Thomas Aquinas 1. Thomas and Augustine 2. The Essence of Thomism 3. Thomism in the Present Day Epilogue Appendices This volume is a translation of Die Philosophie Des Thomas von Aquino (GA 74). (shrink)

Hegels Philosophie ist die wissenschaftliche Weltanschauung unserer Zeit, so lautet die These, d.h. Ausdruck einer selbst zur Ideologie entarteten Idee von Wissen, in die unser Zeitalter, als das „Zeitalter der Wissenschaft”, alle Hoffnung der Menschheit setzt. Es ist die der klassischen griechischen Philosophie entstammende Idee, daß wahres Wissen, und mithin grundlegend auch für jede erfolgversprechende Praxis, allein rein theoretisches Wissen sei. Dieses Wissen fordert Objektivität, weil es für das einzig Wirkliche das in sich und an sich Bestimmte hält und Wahrheit (...) nur in der Anpassung an das an sich so Seiende erblickt. Die Neuzeit ist das Zeitalter, in dem Philosophie und Wissenschaft diese überkommene Idee einerseits praktisch, andererseits auch selbst erst theoretisch zu verwirklichen unternehmen. Die bald rasch sich aufhäufenden praktischen Erfolge der modernen Wisenschaft sind bekannt. Die Versuche zu einer streng wissenschaftlichen Begründung rein theoretischen Wissens im Sinne der Idee dieses Wissens selbst, welche die Geschichte der Philosophie der Neuzeit von Descartes bis Fichte ausfüllen, führen indessen zu einer unwiderstehlich zunehmenden Einsicht in die Wirklichkeitsfremdheit der Idee rein theoretischen Wissens. Fichte zuerst sah zwischen Wissenim Sinne dieser Idee - und Realität eine unüberwindliche Kluft sich auftun. Angesichts dessen hat sich Hegel, um diese Idee zu retten, auf die verzweifelte Auskunft verlegt, dieses Wissen absolut zu setzen. Damit konnte er jederlei Bedenken, welches sich vom absoluten Standpunkt des Wissens entfernte und auf die Realität verweisen wollte, den Weg verlegen. Die Aufhebung aller Realität im absolut gesetzten Wissen aber, behauptete Hegel, bewahre in Wahrheit das Ganze, welches an ihr allein das Wahre sei. Dies nachzuweisen, diente ihm das Mittel der „Dialektik”, welche auf einer systematischen Verwechslung von notwendigen Möglichkeitsbedingungen und zureichenden Gründen beruht. Indem jedoch Hegel die Idee rein theoretischen Wissens absolut setzte und somit der Forderung entzog, sie ihren eigenen theoretischen Ansprüchen gemäß streng wissenschaftlich zu begründen und zu verwirklichen, machte er das Wissen selbst zum bloßen Glaubensgegenstande einer Weltanschauung. Husserl andererseits teilte zwar diesen Glauben, doch erneuerte er unter der Losung „Philosophie als strenge Wissenschaft” jene Forderung, damit aber jenen seit den Cartesianischen Meditationen eingeleiteten kritischen Prozeß, der nunmehr scheint, das Urteil aufzunötigen: Rein theoretisches Wissen ist selbst nur praktisch zu verwirklichen auf den Boden einer Weltanschauung, welche als solche im Widerspruch steht zu den Forderungen des Wissens selber. Der Versuch einer selbst streng wissenschaftlichen Verwirklichung der Idee rein theoretischen Wissens hingegen, den zuletzt Husserl unternahm, zwang die phänomenologische Philosophie zu einer Umwertung der Idee des Wissens. In Wirklichkeit ist theoretisches Wissen nicht Wissen, sojern und weil es rein theoretisches ist, sondern sofern es das nicht und wiewohl es nur theoretisches ist. (shrink)

"Wahr" oder "unwahr" scheinen Prädikate, die nur einer Aussage zukommen können. Die Frage, auf die eine Aussage antwortet, das Thema, worauf sie sich einläßt, der Gegenstand, über den sie sich ausspricht, scheinen nicht "wahr" oder "verkehrt", sondern allenfalls "interessant" oder "uninteressant" sein zu können. Die Frage der Topik, wie sie hier gestellt und erörtert wird, ist dahingegen die, ob sich nicht auch für eine Frage, ein Thema, einen Gegenstand, verbunden mit der Frage des Interesses, eine Frage der Wahrheit (die Frage (...) einer "topischen Wahrheit") stellt, da sonst die Frage nach der `mogischen Wahrheit' einer Aussage buchstäblich gegenstandlos zu werden Gefahr läuft. In einem ersten Kapitel soll im Hinblick auf eine Reihe von Phänomenen (vom `Betrug' bis hin zur `Diskussion') gezeigt sein, daß sich eine solche Frage der Topik in der Tat stellt; im zweiten Kapitel, daß sie sich auch längst schon, sei es auch nicht unter diesem Namen, in der modernen Wissenschaftsphilosophie (von Kant bis Thomas Kuhn) erhoben hat. Das dritte Kapitel ist ein Versuch zur Grundlegung einer Antwort auf die Frage der Topik. Das vierte Kapitel soll zeigen, daß die gewöhnliche Ausflucht aus der Frage der Topik selber auf einer eigentümlichen Antwort auf die Frage der Topik beruht. (shrink)

Relying on Husserl as well as on the reflections by Merleau-Ponty on Cézanne, Henry on Kandinsky and Deleuze on Bacon, this essay sketches some basic problems that arise in a phenomenological account of non-figurative painting. An investigation of the distinction between phenomenological and pictorial perception, of the transposition of the painter’s mode of perception into a painted image, and of the expressive force of paintings inevitably confronts one with the enigma of the appearing of something invisible. The essay proceeds in (...) three steps. The first step describes pictorial perception in terms of a ‘seeing according to’. Such a mode of perception pays attention to visual ambiguities, to the ‘gaze of things’ and to the conditions of visibility that are ordinarily overlooked. The second step moves on to the issue of the transposition of a pictorial perception in a painted image. Deleuze’s account of “manipulated chance” proves to be very helpful here. In the final step, Henry’s and Deleuze’s emphasis on the painting’s expression of totally invisible ‘forces’ is discussed. (shrink)

AuBerdem hat mich hier eine ebenso ehrenvolle Anfrage der Fundacion Nacional para Investigaciones Cientificas y Ensayos de Reformas in Madrid erreicht, ob ich bereit ware, durch mehrere Jahre am Instituto de Estudios Internacio- nales y Economicos in Madrid Universitatsseminariibungen nach deutschem Muster zu leiten, eineEinladung, der ich vielleicht spater fiir eine heute noch nicht bestimmbare Zeit nachkommen zu konnen hoffen darf. Diese Umstande haben fiir mich die schon vordem erwogene Frage abermals aufgerollt, ob es sich nicht empfohlen batte, im fiinften (...) und sechsten Abschnitt Beispiele aus auBerdeutschem Recht heranzuziehen. So hatte es neuestens ganz besonders nahe gelegen, der Gleichung Mark gleich Mark des Reichsgerichtes die Gleichung Dollar gleich Dollar der Goldklauselentscheidung des Supreme Court der Vereinigten Staaten von Amerika vom 18. Fe- bruar 1935, vielleicht auch Judikate aus anderen Landern iiber derartige Wahrungsfragen zur Seite zu stellen. A.uBere Griinde notigen mich jedoch, den Text unberiihrt zu lassen. Sachlich andert sich j a nichts, gleichgiiltig, aus welcher Rechtsordnung man die Beispiele wahlt. Aus den erwahnten Griinden der Riicksichtnahme auf den Text habe ich auch darauf verzichten miissen, noch nachtraglich auf verschiedene AuBerungen aus letzter Zeit zu meinen Lehren einzu- gehen, wie zum Beispiel auf jene von Toyowo Ohgushi in der Zeitschrift des Kaiserlichen Instituts fiir nationale Kultur, Tokyo, 1934, Heft 5, S. 38 ff., oder von Lea Meriggi in der Revue de Droit international et de Legislation comparee, 1934, Nr.3, S. 13ff. Ann Arbor Michigan, im Marz 1935. Der Verfasser. Vorwort zur zweiten AuDage. (shrink)

In the years 1975-1976 the Belgian government has given high priority to the restructuring of local government, resp. by the means of mergers of communes : the number of communes has decreased by that way from 2,359 to 596.In the decision-making emphasized were the initiatives taken by the Minister of the Interior as wel! on the domain of the elaboration of the proposals to delimitate the territory of the new communes as on the domain of the defining of the terms (...) of execution with regard to the personnel, the finances, the transition of goods, etc. About the proposals on the delimitation of the territory the local governmentscould only give advice ; they have been sanctioned by the legislative assemblees at the end of 1975 after rather difficult and heated debates.During this period an important resistance developed : on the one side from the communal milieu itself and on the other side from the opposition parties, esp. the Belgian Socialist Party not participating in the government that had made the drawing of the new map of communes according to a broad plan to its aim.Nevertheless, the decision-making also has to be seen from the fact that the opposition parties agreed with the principle of the mergers : they mainly contested the way in which the mergers were executed.The abolition of the federations of communes around the Brussels agglomeration, decided in the same context, has to be seen in the light of the typical Belgian problem of the coexistence of different linguistic groups. (shrink)

1. Bd. Ältere Strömungen (19. Jahrhundert). Jüngere Strömungen (Ende 19. und Anfang 20. Jahrhundert)--2. Bd. Jüngere Strömungen (Ende 19. und Anfang 20. Jahrhundert); Fortsetzung.

Introduction: Public health ethics addresses moral dilemmas arising from balancing individual healthcare needs with societal interests. Ethical considerations in public health during pandemics and disasters aim to reduce mortality rates and minimize social injustice through fair principles. Objective: This paper analyzes public health ethics and ethical values in allocating resources during mass casualty incidents. The intersection of public health ethics, applied bioethics, and ethics of social consequences (through non-utilitarian consequentialism) guides addressing serious public health challenges in catastrophic scenarios. The application (...) of the given interaction is significant for professional medical ethics. Methodology: The paper employs inductive, deductive, and normative methods of bioethics and the methodology of ethics of social consequences. Conclusion: The paradigmatic disparity between the bioethics of pandemics and disaster bioethics lies in the fluid application of bioethical principles and the accentuation of utilitarian demands depending on the severity and scale of mass casualty incidents. Applied bioethics in crisis situations respects the approaches of public health ethics and attempts to increase positive social outcomes. The application of (scarce) resource allocation criteria and triage of patients is derived from ethical decisions beneficial to public health and lege artis approaches of medical bioethics. The paper presents professional and ethical criteria for medically inappropriate treatment within the framework of patient triage; we approach crisis ethics from the perspective of maximization of benefit. Age is not an exclusion criterion of acute healthcare provision in crisis situations. Ethics of social consequences as a form of non-utilitarian consequentialism allowing for social consequences bridges public health ethics and applied bioethics. (shrink)