Ethical thought experiments such as the trolley dilemma have been investigated extensively in the past, showing that humans act in utilitarian ways, trying to cause as little overall damage as possible. These trolley dilemmas have gained renewed attention over the past few years, especially due to the necessity of implementing moral decisions in autonomous driving vehicles. We conducted a set of experiments in which participants experienced modified trolley dilemmas as drivers in virtual reality environments. Participants had to make decisions between (...) driving in one of two lanes where different obstacles came into view. Eventually, the participants had to decide which of the objects they would crash into. Obstacles included a variety of human-like avatars of different ages and group sizes. Furthermore, the influence of sidewalks as potential safe harbors and a condition implicating self-sacrifice were tested. Results showed that participants, in general, decided in a utilitarian manner, sparing the highest number of avatars possible with a limited influence by the other variables. Derived from these findings, which are in line with the utilitarian approach in moral decision making, it will be argued for an obligatory ethics setting implemented in ADVs. (shrink)

As donor trust legitimises research, trust is vital for research in the fields of biomedicine, genetics, translational medicine and personalised medicine. For parts of the donor community, the consent signature is a sign of trust in research. Many consent processes in biomedical research ask donors to provide their data for an unspecified future use, which introduces uncertainty of the unknown. This uncertainty can jeopardise donor trust or demand blind trust. But which donor wants to trust blindly? To reduce this (...) uncertainty, we explore first, which future-proof actors donors could trust when signing a consent form. Second, we discuss the question Can we know if donor trust expires? and what prevents donor trust from expiring. Finally, we present possible measures that can help to nurture trust in the far future. In this article, we draw on our previous research on trust in biomedical research, on trust in the broader healthcare system and Niklas Luhmann’s and Anthony Giddens’ trust theories. Our findings suggest that, in the far future, researchers will need to consider donor autonomy, as well as societal norms and values of the time period in which the data were donated. They will need to find mechanisms where possible to publicly announce the use of old data sets. However, foremost researchers will need to treat the data respectfully. It remains vital that professionals and the society continue to elaborate on the norms and values that shape the common understanding of what is morally right and wrong when researching data. (shrink)

We present a comprehensive empirical evaluation of the ACT‐R–based model of sentence processing developed by Lewis and Vasishth (2005) (LV05). The predictions of the model are compared with the results of a recent meta‐analysis of published reading studies on retrieval interference in reflexive‐/reciprocal‐antecedent and subject–verb dependencies (Jäger, Engelmann, & Vasishth, 2017). The comparison shows that the model has only partial success in explaining the data; and we propose that its prediction space is restricted by oversimplifying assumptions. We then implement a (...) revised model that takes into account differences between individual experimental designs in terms of the prominence of the target and the distractor in memory‐ and context‐dependent cue‐feature associations. The predictions of the original and the revised model are quantitatively compared with the results of the meta‐analysis. Our simulations show that, compared to the original LV05 model, the revised model accounts for the data better. The results suggest that effects of prominence and variable cue‐feature associations need to be considered in the interpretation of existing empirical results and in the design and planning of future experiments. With regard to retrieval interference in sentence processing and to the broader field of psycholinguistic studies, we conclude that well‐specified models in tandem with high‐powered experiments are needed in order to uncover the underlying cognitive processes. (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)

: This paper discusses the relation between the philosophies of difference and the so-called postcolonial movement of thought. Our main sources are, on the side of the postcolonial studies, Frantz Fanon, Edward Said, and Homi Bhabha and, on the side of the philosophies of difference, Jean-François Lyotard, Michel Foucault, Gilles Deleuze, and Félix Guattari. We show that the authors belonging to the postcolonial movement are, to large extent, heirs of a way of thought already practiced by the philosophers of difference. (...) However, the postcolonial authors also reinforce the conceptual apparatus of the philosophies of difference with original contributions and, above all, an attentive consideration of the problem of colonial difference, which remains a big gap for critical thought. Regarding that, with no intention of approaching in depth the singularity and complexity of the ideas of each of the mentioned authors, we draw a minimal map of the points where the philosophies of difference and the postcolonial thought intercept each other. This map also shows points where the postcolonial movement complements the perspective of the philosophies of difference, precisely addressing one of its blind spots: the colonial question. Resumo: Este artigo discute a relação entre as filosofias da diferença e o chamado movimento de pensamento pós-colonial. Suas fontes principais são, do lado dos estudos pós-coloniais, Frantz Fanon, Edward Said e Homi Bhabha, e, do lado das filosofias da diferença, Jean-François Lyotard, Michel Foucault, Gilles Deleuze e Félix Guattari. Mostra-se que os autores do movimento pós-colonial são, em grande medida, herdeiros de um pensamento já praticado pelos filósofos da diferença. No entanto, os autores pós-coloniais também reforçam o aparato conceitual das filosofias da diferença com contribuições originais e, sobretudo, uma consideração atenta do problema da diferença colonial, que permanece uma grande lacuna para o pensamento crítico. Tendo isso em vista, sem pretender abordar, de maneira aprofundada, a singularidade e a complexidade das ideias de cada um dos autores mencionados, traça-se um mapa mínimo dos pontos onde as filosofias da diferença e o pensamento pós-colonial se interceptam. Esse mapa também mostra pontos onde o movimento pós-colonial complementa a perspectiva das filosofias da diferença, abordando justamente um de seus pontos cegos: a questão colonial. (shrink)

Researchers in post-war industrial laboratories such as Bell Labs and the Smith-Kettlewell Institute pioneered solutions to compensate for sensory loss through so-called sensory substitution systems, premised on an assumption of cortical and sensory plasticity. The article tracks early discussions of plasticity in psychology literature from William James, acknowledged by Wiener, but explicitly developed by Bach-y-Rita and his collaborators. After discussing the conceptual foundations of the principles of sensory substitution, two examples are discussed. First, ‘Project Felix’ was an experiment in (...) vibrotactile communication by means of ‘hearing gloves’ for the deaf at Norbert Wiener’s laboratory at Massachusetts Institute of Technology, demonstrated to Helen Keller in 1950. Second, the tactile-visual sensory substitution system for the blind pioneered by Paul Bach-y-Rita from 1968 onwards. Cumulatively, this article underlines the crucial yet occluded history of research on sensory impairments in the discovery of underlying neurophysiological processes of plasticity and the emergent discourse of neuroplastic subjectivity. (shrink)

For quite some time, cognitive science has offered philosophy an opportunity to address central problems with an arsenal of relevant theories and empirical data. However, even among those naturalistically inclined, it has been hard to find a universally accepted way to do so. In this article, we offer a case study of how cognitive-science input can elucidate an epistemological issue that has caused extensive debate. We explore Jason Stanley’s idea of the practical grasp of a propositional truth and present naturalistic (...) arguments against his reductive approach to knowledge. We argue that a plausible interpretation of cognitive-science input concerning knowledge—even if one accepts that knowledge how is partly propositional—must involve an element of knowing how to act correctly upon the proposition; and this element of knowing how to act correctly cannot itself be propositional. (shrink)

We explore the interaction between oculomotor control and language comprehension on the sentence level using two well-tested computational accounts of parsing difficulty. Previous work (Boston, Hale, Vasishth, & Kliegl, 2011) has shown that surprisal (Hale, 2001; Levy, 2008) and cue-based memory retrieval (Lewis & Vasishth, 2005) are significant and complementary predictors of reading time in an eyetracking corpus. It remains an open question how the sentence processor interacts with oculomotor control. Using a simple linking hypothesis proposed in Reichle, Warren, and (...) McConnell (2009), we integrated both measures with the eye movement model EMMA (Salvucci, 2001) inside the cognitive architecture ACT-R (Anderson et al., 2004). We built a reading model that could initiate short “Time Out regressions” (Mitchell, Shen, Green, & Hodgson, 2008) that compensate for slow postlexical processing. This simple interaction enabled the model to predict the re-reading of words based on parsing difficulty. The model was evaluated in different configurations on the prediction of frequency effects on the Potsdam Sentence Corpus. The extension of EMMA with postlexical processing improved its predictions and reproduced re-reading rates and durations with a reasonable fit to the data. This demonstration, based on simple and independently motivated assumptions, serves as a foundational step toward a precise investigation of the interaction between high-level language processing and eye movement control. (shrink)

This study aims to enrich our understanding of the relationship between political connections and the adoption of environmental corporate socially responsible investments. In addition to the individual-level political connections, i.e., entrepreneurs’ personal ties to government officials, we propose in China the creation of Communist Party of China branches in privately owned firms serve as organizational and institutionalized dimensions of political connection building. Drawing on the social exchange theory, this paper details how CPC branches function in privately owned firms and how (...) entrepreneurs are motivated by the reciprocal logic to engage in ECSR. We also supplement this main effect by examining the boundary conditions of it at the firm and regional level. Using a dataset with 17,690 firm observations in China, we find that the existence of CPC branches gives rise to the ECSR investments and the firm-level contingencies such as centralized governance and financial constraints, and the regional-level contingencies such as the development of the market system, are important moderators that shape the association of political links and ECSR investments. These findings have ample implications to understand the ECSR activities and extend social exchange theory beyond the individual level on which it is typically applied. (shrink)

The notion of “individuality” in Plotinus is one of the most discussed. Throughout the Enneads, the problem of the individual subject arises from the complexity in understanding the relation between man and soul. To the intelligible man, also known as the inner or first man, a second man is added, so that “we have come to be the pair of them” 14.28-30). This question has been extensively addressed from different angles that lead either to a purely structuralist solution, or to (...) its criticism and the search for a more stable definition of subjective identity. The thesis that we will defend in this article, and that will indicate our position in the debate, tries to give a new perspective of the issue alluding to the sphere of life and its forms. The continuity between the different men will be determined by the continuity between their different forms of life, a primary issue to which the problem of individuality and the different modes of consciousness are subject. (shrink)

Keynes is widely accepted to have proved the existence of a consumption gap as a cause of economic depressions. Such a gap meant that, ironically, depressions could get worse as a result of the greater wealth produced by the modern economy, since, as Keynes argued, the wealthy consumed proportionately less than the lower?income groups. Textual analysis, however, shows that Keynes's arguments amounted to assumptions, not demonstrations. And a survey of the empirical research of the subsequent half?century reveals a lack of (...) convincing evidence of the consumption gap. (shrink)

Propomos neste texto examinar o papel das disposições (Stimmungen), e, particularmente, das chamadas “disposições fundamentais” na construção da pergunta heideggeriana pela historicidade da história. Nós partimos da pergunta pela historicidade da história da filosofia para a análise do papel hermenêutico cumprido pela angústia na analítica da cotidianidade em Ser e Tempo, procurando esclarecer a conexão dessa disposição com o conceito de historicidade tal como tratado nessa obra. Em seguida, tratamos da maneira como são pensadas as disposições em Conceitos fundamentais da (...) metafísica, obra na qual Heidegger explicitamente pensa a disposição do tédio como característica de uma época. Uma vez que mostramos como podemos entender as disposições em geral em sentido historial, retomamos a análise da angústia, e, a partir da discussão de sua estrutura tal como apresentada em Ser e Tempo, perguntamos pela relação específica da angústia com a questão da historicidade, no que ela significa para o projeto de Ser e Tempo e para a obra posterior de Heidegger. (shrink)

Today, “scientism“ is a concept with a negative connotation in every language. Although many definitions are circulating, they have the assessment in common that scientism implicates a blind faith in science, which is wrong, simple-minded and even dangerous. However, the question is, who actually is defending that kind of position? Is scientism not just a ghost, a projection, an intellectual scarecrow in order to use many people’s fear of science in order to bash rationalistic opinions? This article develops the (...) argument that scientism is a real historical current which can be analyzed in a concrete way. It starts by outlining the history of the French word “scientisme” and the debates around it and discovers that the word is not at all of recent invention, but goes back to the 1840s and received its negative emphasis in the late nineteenth century when “scientific spiritism” on the one hand and Catholicism on the other were struggling against the “exaggerated” claims of natural science. A polemical counter-concept was therefore needed. Soon afterward some scientists and philosophers emerge, like Félix Le Dantec, Abel Rey or Marcel Boll, who turn around the invective in order to describe their own optimistic and rationalistic conception of science. In conclusion the article argues that scientism has to be understood as an intellectual project and as an optimistic thought-style in science that does not at all correspond to the prejudices of the amoral scientist or the power-hungry technocrat, but is represented mostly by outsiders and nonconformists. (shrink)

Confrontado el actual modo global de vida y de pensamiento con el fenómeno ubicuo del llamado «terrorismo internacional», centrado en el yihadismo islamista, parece conveniente explorar la genealogía de la tormentosa relación de Occidente con el mundo islámico, a través de la poderosa lente —no exenta de ideología eurocristocéntrica— de la filosofía hegeliana, lo cual quizá permita ir poniendo al descubierto los juicios y prejuicios que, profundamente soterrados, moran entre una y otra cosmovisión, basados en buena medida en diferencias «religiosas» (...) o, más bien, ideológicas, las cuales, disfrazadas de religión, encubren dispositivos eficaces de poder. (shrink)

Este artículo reseña: Kevin Fredy HINTERBERGER, Regularisations of Irregularly Staying Migrants in the EU.A comparative Legal Analysis of Austria, Germany and Spain, Hart Publishing/Nomos, Baden-Baden (Germany), 2023, 398 pp.

A pesar de que Max Horkheimer en Eclipse de la razón había analizado los límites de la razón subjetiva, atendien- do a las posibilidades de retornar a la razón objetiva y a su función después del eclipse, a Jay le parecían aún insuficientes estas respuestas. Por ello, regresó al estudio de las conceptualizaciones filosóficas de los fundadores de la teoría crítica y de quienes se quedaron a cargo del Instituto de Investigación Social en Frankfurt. En este sentido, este texto podría (...) verse en continuidad y a distancia respecto a su primer li- bro: Dialectical Imagination. A History of the Frankfurt School and the Institute of Social Research, 1923-1950 (1973); producto de su trabajo de doctorado, enfocado en la formación del Instituto de Investigación Social; en sus principales integrantes: Herbert Marcuse, Max Horkheimer, Theodor Adorno, Leo Löwenthal, Walter Benjamin,Franz Neumann, Otto Kirchheimer, Henryk Grossmann, Erich Fromm, Karl August Wittfogel; en la integra- ción del psicoanálisis; en su exilio a América; en los estudios empíricos sobre el autoritarismo, la estética y la industria cultural. (shrink)

A partir del replanteamiento de la función que cumple la "Lógica de la Historia", no como una justificación del estado de cosas, sino por el contrario, como una manera de comprender más profundamente el devenir histórico de la humanidad. El autor analiza las distintas contradicciones y falacias subyacentes a los ideales que impulsaron la Revolución Francesa: libertad, igualdad y fraternidad. En segundo lugar, describe el surgimiento de los más importantes movimientos políticos del siglo XX. Y, finalmente, intenta desentrañar el sentido (...) de las diversas guerras mundiales, entendidas siempre como confrontaciones de los ideales contradictorios que orientaron la revolución antes mencionada. (shrink)

El ensayo se propone ofrecer una visión de conjunto de la obra de Martin Heidegger, centrada en el problema de la verdad del ser, verdad que brilla en la actitud del «estar-ahí a la muerte», en la obra de arte como cruce en quiasmo y enel ensamblaje cósmico de la Cuadratura. Se hace resaltar así la fuerte unidad que preside el camino del pensar heideggeriano, más allá de las consabidas, didácticas y artificiosas divisiones, vueltas y contravueltas; más allá, tanihién de (...) interpretaciones externas y forzadas.The aim of this paper is to offer a thematic re-examination of Heidegger’s work focused on the question of being’s truth. A truth which is shining in the attitude of the Da-sein zum Tode, in Ihe work of art as a chiasmatical interference and also in the «World-Cross-Notching» of the Geviert, in order to bring out the strong unity of te Heideggerian way of thought, which is far away of the «didactical» and made-up academical divisions, tums and retums, also beyond of wrested, external interpretations. (shrink)

In what sense is Nature in God, according to Schelling's Essay on Human Freedom ? The answer to this question, it is argued, involves disclosing the inseparability between 'what is said' and 'how it is said' in the Freiheitsschrift , the discursive performativity on the basis of which Schelling's essay must be read. Part I introduces three 'bonds' that determine Schelling's thinking: a discursive bond , a manifestive bond and a bond of freedom . Part II shows that these three (...) bonds intersect in the Freiheitsschrift . Disclosed at the core of this intersection is, not a bond, but a gap: that between "Nature—in God." This gap is narratively performed with the stroke of a pen—with a dash. (shrink)

Logoi : the history and definition of art and aesthetics -- The broader context -- An ontological foundation -- Doxa : the nature of art -- Inspired by the spirit -- Universal beauty -- Aesthetics of hope -- Praxis : the purpose of art -- Art and creation as play -- Serious art qo -- Church art.

David Hume's Essays, which were written and published at various junctures between 1741 and his death in 1776, offer his most accessible and often most profound statements on a range of subjects including politics, philosophy, aesthetics, and political economy. In Hume's lifetime, the readable and wide-ranging Essays acquired considerable fame throughout Europe and North America, influencing the writings of such diverse figures as James Madison and William Paley, yet they have not been given the same scholarly attention as his more (...) famous philosophical works. This Critical Guide provides a series of in-depth studies of the Essays, as well as an account of the state of scholarship on the work. Thirteen chapters examine the Essays from historical, political and philosophical perspectives, with the aim of restoring the work to its rightful place among Hume's works and in intellectual history more broadly. (shrink)

Signal transduction pathways are largely conserved throughout the animal kingdom. The repertoire of pathways is limited and each pathway is used in different intercellular signaling events during the development of a given animal. For example, Wnt signaling is recruited, sometimes redundantly with other molecular pathways, in four cell specification events during Caenorhabditis elegans vulva development, including the activation of vulval differentiation. Strikingly,a recent study finds that Wnts act to repress vulval differentiation in the nematode Pristionchus pacificus,1 demonstrating evolutionary flexibility in (...) the use of intercellular signaling pathways. BioEssays 27:765–769, 2005. © 2005 Wiley Periodicals, Inc. (shrink)

en el presente artículo abordamos la cuestión de la naturaleza del símbolo en la filosofía de Jámblico a través del análisis del pasaje de De Mysteriis 2.11.20-41. este pasaje ha servido de apoyo a la exégesis que ve en el símbolo un elemento apartado del intelecto. Según esta lectura, el símbolo habría sido introducido por Jámblico para salvar la debilidad del alma humana ante lo divino. éste habría dejado de confiar en las capacidades del hombre, abriéndose al ámbito de la (...) teúrgia. éste marco de interpretación adolece, sin embargo, de importantes carencias a la hora de ofrecer una comprensión profunda y coherente del papel del símbolo en la filosofía de Jámblico. A partir del estudio de este pasaje, nos acercaremos a la naturaleza de lo simbólico, buscando abrir una vía de comprensión de su papel en el proceso epistémico que perfila Jámblico. la relación que guarda esta noción con el término νοερός será determinante para nuestro estudio. (shrink)

O presente texto tem como propósito, primeiramente, prescrutar a gênese e a particularidade do racismo no modo de produção capitalista, para revelar a conexão íntima existente entre a ideologia do racismo e a ascendência do capital monopolista. Num segundo momento, pretende-se observar como o racismo se constitui como mecanismo fundamental para operar a divisão interna da classe trabalhadora, em que o capital constitui uma espécie de “aristocracia operária” para intensificar suas desumanizações contra os seres humanos racializados. Por fim, justifica-se o (...) protagonismo das táticas combativas do racismo no contexto da predominância do capital mais fetichizado plasmado na história. A pesquisa tem como fundamento a teoria marxiana e as contribuições contrapostas ao racismo desenvolvidas por autores como Eric Williams, René Depestre, Augusto Buonicore, Demétrio Magnoli e Keeanga-Yamahtta Taylor. (shrink)

Abordées dans leur radicalité, les thèses de Schopenhauer consacrées à la musique font plus encore que rassembler le mouvement entier de sa pensée. S’y réalise en effet une véritable phénoménologie de la musique avant la lettre, plus pénétrante et plus adéquate à l’ordre musical que toutes les tentatives depuis élaborées à partir de la conscience intentionnelle, dont elle a comme anticipé les insuffisances. Ce faisant, elles pointent en direction d’une phénoménologie d’avant le phénomène, d’une phénoménologie du pâtir, où en amont (...) de la visibilité, au désaisissement de tout projet, préalablement encore à la structure perceptive, se contractent ensemble l’existence elle-même et la possibilité d’un monde. (shrink)

Les modèles théoriques, on le sait, sont parfois de véritables obstacles épistémologiques. Tel a particulièrement été le cas de l’arc réflexe. Destiné tout d’abord à rendre compte des mouvements involontaires, il a peu à peu été élevé au rang de modèle explicatif du mouvement en général, animal et humain. Les problèmes que ce schéma théorique rencontre sont cependant nombreux : en dissociant comme il le fait l’occasion du mouvement d’avec sa réalisation, en réduisant l’organisme à une série de processus spécifiques (...) séparés et programmés, il néglige le rapport actif de l’être vivant à son milieu, appauvrit donc la réalité corporelle et psychique vécue, et s’avère ainsi inapte à ressaisir l’insertion fondamentale de l’homme dans son monde. Un modèle inadéquat auquel pourtant le mariage aujourd’hui de l’homme et de la machine redonne une préoccupante actualité. (shrink)

En el presente ensayo se analiza el origen del concepto denominado por Nietzsche: voluntad o instinto de conocimiento. Siguiendo al autor, se pretende mostrar cómo el impulso hacia el conocimiento no es meramente racional, sino fisiológico; y cómo, no obstante, a través del tiempo se ha perdido el origen vital de este impulso, el cual se ha utilizado para fines contrarios a la preservación de la vida. A manera de consideración final, se expone lo que parece ser una solución nietzscheana (...) para entender la finalidad del conocimiento, es decir, la argumentación a favor del conocimiento como un instinto o voluntad que impele a la superación en la existencia. (shrink)

In this paper I investigate the mechanics of killing, brining together neuroscience, military history, and the work of the French philosophers Gilles Deleuze & Félix Guattari. Investigating the Columbine killers and the way they negotiate with the intensity of the act of killing allows me to construct a concept of “political physiology,” defined as “interlocking intensive processes that articulate the patterns, thresholds, and triggers of emergent bodies, forming assemblages linking the social and the somatic, with sometimes the subjective as intermediary.” (...) While most people must be in a blind rage to kill at close range, the Columbine killers raised the threshold at which an evolutionarily inherited non-subjective “rage agent” kicks in, thus allowing themselves to be subjects in the act of killing. Yet they were not “cold-blooded killers,” either, those who lower the intensity of the act of killing below the threshold that prevents most interpersonal violence from reaching lethal proportions, since they committed suicide soon after their killing spree from burning out. The success of the Columbine killing machine warns us of a “machinic phylum” whose singularities are virtually available for incorporation into bodies by subjects willing to undergo extreme experiments in political physiology. (shrink)