The present work critically examines two assumptions frequently stated by supporters of cognitive neuroenhancement. The first, explicitly methodological, assumption is the supposition of effective and side effect-free neuroenhancers. However, there is an evidence-based concern that the most promising drugs currently used for cognitive enhancement can be addictive. Furthermore, this work describes why the neuronal correlates of key cognitive concepts, such as learning and memory, are so deeply connected with mechanisms implicated in the development and maintenance of addictive behaviour so that (...) modification of these systems may inevitably run the risk of addiction to the enhancing drugs. Such a potential risk of addiction could only be falsified by in-depth empirical research. The second, implicit, assumption is that research on neuroenhancement does not pose a serious moral problem. However, the potential for addiction, along with arguments related to research ethics and the potential social impact of neuroenhancement, could invalidate this assumption. It is suggested that ethical evaluation needs to consider the empirical data as well as the question of whether and how such empirical knowledge can be obtained. (shrink)

Wie verhalten sich Ideen zu der materiellen Wirklichkeit, die sie abbilden wollen? In der Strukturanalyse der Platonschen Spiegel-Metapher findet der Autor den Schlüssel, um den Zusammenhang der materiellen Vielheit als universelles Reflexionssystem darstellen zu können und das menschliche In-der-Welt-sein als Moment des Naturverhältnisses zu begründen.

1. Die Lehre vom Primat der praktischen Vernunft.

Especially where a patient's ability to communicate is limited, the receptive use of art visually offers an entry point into contemplation and insight. Here, receptive work with visual art can help to dissolve limitations in verbal communication. In receptive art therapy, an independent therapeutic resource is attributed to the artistic work and its symbolic pictorial content, which can initiate a healing process. A form of indirect communication is stimulated, in which not only a change on the symbolic but also on (...) the emotional level takes place through the emotionally highly charged pictorial-symbolic expression in the confrontation. Different approaches and basic concepts of the method are presented. This conference volume is addressed to the patients, therapists and clinical as well as inclusive companions in these processes. With contributions by Dr. Alexandra Daszkowski, Prof. Dr. Georg Franzen, Dr. Barbara Laimböck, Prof. Andreas Mayer-Brennenstuhl, Prof. Dr. Karl-Heinz Menzen, Karolina Sarbia, Prof. Dr. Martin Schuster and Ass.-Prof. Dr. Karla Villavicencio. (shrink)

The subject of intercultural exchange is complex and demands that we keep the basic issues that shape our views of the world in mind. And one of these basic issues is what we mean by “European identity.” The ideological concerns over the norms of identity became necessarily entangled in the post-1989 interests and agendas of Europe’s various nations. So the great challenge for us as academics as well as for the policymakers in Brussels and Strasburg is to focus on these (...) dialectics. European identity is too varied to be a unitary and homogenous thing; indeed, one of the battles within it is between the advocates of a unitary identity and those who see the whole as a complex that is irreducible to a unified identity. In this article I explore how the theatre, in the aftermath of the Second World War, served as a laboratory for the investigation, analysis, and constuction of dramatic models that became a means of transcultural communication. As attested by the continuing success of the experimental approaches of Brecht, Grotowski, La Mama, and Suzuki, this endeavour reflected the struggle of people from different cultural backgrounds to understand and accept each other. One of the reasons the theatre continues to have the potentiality to promote transcultural integration is that it deals in concrete particulars with universal resonances. As I will demonstrate with examples from my own work in various countries, the production and directing of plays by these and other dramatists shows that it is only in the performance—by transforming the familiar into the unfamiliar, by making the habitual and customary seem strange and unexpected—that the motives, relationships, and events enclosed in the written play are released so as to stimulate the audience to re-examine their own contemporary realities. Transcultural theatre thus creates dramatic experiences that are adequate and responsive to the changing world of migration and mobility in which both practitioners and audiences actually live. As such it offers the kind of transcultural education that promotes communication and understanding and that fosters an open-eyed and open-hearted attitude to the changing realities of Europe. (shrink)

Epiphenomenalism (with respect to the intentional) may be construed as the claim that intentional events as such are causally inert. If property-dualism is true, that is if intentional properties aren't identical with or reducible to physical properties, then epiphenomenalism is inevitable. Some philosophers (most notably Fodor) have argued that their irreducibility notwithstanding intentional properties are causally responsible properties (or at least supervenient upon causally responsible properties). The arguments supporting these promising allegations aren't convincing. Given the tmth of property-dualism, there is (...) no (Fodorian or any other) escape-route from epiphenomenalism. (shrink)

Keine ausführliche Beschreibung für "Mentales Leben und materielle Welt" verfügbar.