Nineteen newly-transliterated letters between Ferdinand Christian Baur and his friend Ludwig Friedrich Heyd are presented. Seventeen of them were written by Baur, and two by Heyd in the period between 10th February 1836 and 16th January 1842. A further sixteen earlier letters were already published by Carl Egbert Hester in 1993. The correspondence between the two close friends cover a broad range of subjects, predominantly historical, as well as family, scientific, political themes and particularly university politics. The key personal topic (...) is the death of Baur’s wife in 1839 and the consequences of this for their children. The scientific themes concern firstly Baur’s efforts to assist Heyd in his research into the history of Württemberg, and to promote these works to publishers. Secondly, the letters document the reaction of the two to David Friedrich Strauß’s work “Das Leben Jesu”, and how their views changed during this correspondence. The central political themes of the letters relate primarily to appointments within Tübingen University, and in particular to previously unknown attacks on Baur’s own position there. Further discussions concern two politically arranged festivals; the Buchhändlerfest of 1840, and the 25th coronation anniversary of King Wilhelm I. of Württemberg in 1841, at which Baur gave a courageous speech on the political situation in Württemberg. Of particular interest in the letters previously transliterated by Hester are two topics, firstly the “Polish Petition” regarding the political situation in Poland in the 1830s, and secondly regarding the constitution of Tübingen University. To better understand the significance of these private letters and their openness, a short biography of Heyd is included. (shrink)

According to Eugenie Scott, methodological materialism---the view that science attempts to explain the world using material processes---does not imply philosophical materialism---the view that all that exists are material processes. Thus one can consistently be both a scientist and a theist. According to Phillip Johnson, however, methodological materialism presupposes philosophical materialism. Consequently, scientists are unable to see the cogency of supernatural explanations, like creationism. I argue that both Scott and Johnson are wrong: scientists are not limited to explaining tbe world using (...) material processes and science does not presuppose materialism. Thus scientists’ rejection of creationism is not irrational. (shrink)

In a conflict between two people, one person wants one thing and the other wants something else and they think they can't both have what they want. Suppose that what they want can only be the outcome of some joint action. Adam must do either y or z and Eve either y ' or z ' – here y -and- y ' would be one joint action, y -and- z ' would be another, and so on. Adam wants the outcome (...) of his doing z while Eve is doing y '. Eve wants the outcome of her doing z ' while Adam is doing y. Each thinks that these outcomes can't both be had. (shrink)

The subject of my paper are the methodological questions of applied ethics. In order to address this problem, we should clarify, in the first place, what it is that is called applied or practical ethics. The latter expression may appear a bit curious, indeed, for it might seem to suggest that there is an ethics which has nothing to do with practical matters. On the other hand, “applied ethics” may be taken to mean the same as “application of ethics”. In (...) this case, the sense of the expression is rather clear; but it already involves a strong premise in that it says that ethical method consists in applying a previously given standpoint to concrete cases. There are, however, some positions which would reject this view , so that it would be question-begging to presuppose its truth at the very beginning. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This is an important new book about human motivation, about the reasons people have for their actions. What is distinctively new about it is its focus on how people see or understand their situations, options, and prospects. By taking account of people's understandings, Professor Schick is able to expand the current theory of decision and action. The author provides a perspective on the topic by outlining its history. He defends his new theory against criticism, considers its formal structure, and (...) shows at length how it resolves many currently debated problems: the problems of conflict and weakness of will, Allais' problem, Kahneman and Tversky's problems, Newcomb's problem, and others. The book will be of special interest to philosophers, psychologists, and economists. (shrink)

What is the relation between time and change? Does time depend on the mind? Is the present always the same or is it always different? Aristotle tackles these questions in the Physics. In the first book in English exclusively devoted to this discussion, Ursula Coope argues that Aristotle sees time as a universal order within which all changes are related to each other. This interpretation enables her to explain two striking Aristotelian claims: that the now is like a moving (...) thing, and that time depends for its existence on the mind. (shrink)

Ursula Coope presents a ground-breaking study of the philosophy of the Neoplatonists. She explores their understanding of freedom and responsibility: an entity is free to the extent that it is wholly in control of itself, self-determining, self-constituting, and self-knowing - which only a non-bodily thing can be.

Propositions -- Theories -- Ambiguous Propositions -- Truth -- Implication -- Reference -- Satisfaction -- Class Membership.

Ted Schick submits the ‘God hypothesis’ to close scientific and logical scrutiny and finds it seriously lacking.

Some writers have noted that valuation is often focused on foreseen changes. They say that we often don't value situations in terms of what we would have in them only but also in terms of the gains or losses that they offer us — that we then focus on departures from our status quo. They argue that such thinking conflicts with basic economic analysis, and also that it violates logic: they say that it is irrational. I agree that it seems (...) to be common. But is such a way of setting one's values a challenge to economics? And does it conflict with being rational? (shrink)

When I raise my arm, what makes it the case that my arm's going up is an instance of my raising my arm? In this paper, I discuss Aristotle's answer to this question. His view, I argue, is that my arm's going up counts as my raising my arm just in case it is an exercise of a certain kind of causal power of mine. I show that this view differs in an interesting way both from the Davidsonian ‘standard causal (...) account’ of action and from accounts put forward by recent critics of Davidson, such as Hornsby, Alvarez and Hyman. (shrink)

In this article, we present results from an interdisciplinary research project aimed at assessing consciousness in dreams. For this purpose, we compared lucid dreams with normal non-lucid dreams from REM sleep. Both lucid and non-lucid dreams are an important contrast condition for theories of waking consciousness, giving valuable insights into the structure of conscious experience and its neural correlates during sleep. However, the precise differences between lucid and non-lucid dreams remain poorly understood. The construction of the Lucidity and Consciousness in (...) Dreams scale was based on theoretical considerations and empirical observations. Exploratory factor analysis of the data from the first survey identified eight factors that were validated in a second survey using confirmatory factor analysis: INSIGHT, CONTROL, THOUGHT, REALISM, MEMORY, DISSOCIATION, NEGATIVE EMOTION, and POSITIVE EMOTION. While all factors are involved in dream consciousness, realism and negative emotion do not differentiate between lucid and non-lucid dreams, suggesting that lucid insight is separable from both bizarreness in dreams and a change in the subjectively experienced realism of the dream. (shrink)

This article addresses the question whether or not, in his Ethics, Spinoza is committed to a naturalized epistemology. In the first step, the cognitive psychological principles involved in the concept of imagination are discussed. It is shown that Spinoza does indeed suggest a causal account for the contents of human thought, yet, in contrast to many psychologist views he does not privilege physicalist explanations, but allows for historical as well as for linguistic accounts. In the second section, a similar differentiation (...) is made in regard to the theory of common notions. Whereas in claiming that human minds necessarily have adequate knowledge of certain properties of things, Spinoza does rely on certain psychological facts, his concept of common notions can better be explicated independently of psychological assumptions. A conclusive argument against a naturalist interpretation of Spinoza′s epistemology, however, is given in the third section via the analysis of the concepts of 'truth′ and 'true idea′. It shows that Spinoza not only embraces the idea of an epistemic normativity, but moreover admits the irrecucibilityof this normativity to natural properties. Since, in respect to moral normativity, Spinoza exhibits quite a different attitude, it can be assumed that he never wanted to provide naturalized epistemology. (shrink)

This commentary introduces the notion of “technical alterity” in order to address the following questions: is it possible that technical objects can become “others” in analogy to Levinas’ ethics and can this relation provide solutions for the subject in the Anthropocene? According to Levinas, the human subject’s only break from having to be itself is in the consumption and enjoyment of things. Objects constitute thus an “other” that can be consumed, i.e., appropriated and be made one’s own. But, in times (...) of the Anthropocene, where the entanglement of human and non-human actors becomes increasingly obvious and intricate, and a question of survival for human beings in the face of the climate crisis, it is necessary to develop a relation with non-human actors that does not reduce them to mere means to an end. This ethical relation with technical objects relies upon an epistemic act, since technical objects precisely do not have a “face” in the Levinasian sense. Technical objects as “technical others” have therefore—in light of Simondon’s philosophy of technology—to be invented. (shrink)

Electrical membrane fluctuations are treated as due to sequences of ion pulses passing through the membrane. A mathematical procedure is developed which permits calculation of the power spectra for sequences in which the pulses can have Poisson or non-Poisson interval distributions and may or may not have coupled pulse parameters. It is shown that there probably exist specific sequences which are intimately related to membrane 1/f and burst noise. In particular, emphasis is placed upon sequences with non-Poisson interval distributions and (...) their implications for membrane structure. A variety of experiments is suggested which will help to distinguish among the alternatives presented. (shrink)

For many of us, the great scientific discoveries of the modern age--the Big Bang, evolution, quantum physics, relativity--point to an existence that is bleak, devoid of meaning, pointless. But in The Sacred Depths of Nature, eminent biologist Ursula Goodenough shows us that the scientific world view need not be a source of despair. Indeed, it can be a wellspring of solace and hope. This eloquent volume reconciles the modern scientific understanding of reality with our timeless spiritual yearnings for reverence (...) and continuity. Looking at topics such as evolution, emotions, sexuality, and death, Goodenough writes with rich, uncluttered detail about the workings of nature in general and of living creatures in particular. Her luminous clarity makes it possible for even non-scientists to appreciate that the origins of life and the universe are no less meaningful because of our increasingly scientific understanding of them. At the end of each chapter, Goodenough's spiritual reflections respond to the complexity of nature with vibrant emotional intensity and a sense of reverent wonder. A beautifully written celebration of molecular biology with meditations on the spiritual and religious meaning that can be found at the heart of science, this volume makes an important contribution to the ongoing dialog between science and religion. This book will engage anyone who was ever mesmerized--or terrified--by the mysteries of existence. (shrink)

Elise v. Bernstorff erweitert auf der Grundlage der Theorien des New Materialism den Diskurs über die Erforschung von Bildungspraktiken, indem sie ihre Beobachtungen nicht auf Lehrer*innen und Schüler*innen beschränkt, sondern Stimmen, Klänge und Räume als Akteure einer interaktiven Bildungsperformance beschreibt. Indem sie spezifische Unterrichtssituationen an einer Schule als Zusammenwirken humaner als auch an non-humaner Akteure darstellt, vermittelt v. Bernstorff der Leser*in ein Bild von aktuellem Schulunterricht, das den Charakter des Exemplarischen zugunsten des Experimentellen aufgibt. Ursula Rogg hat nach Jahren (...) freiberuflicher künstlerischer Arbeit als Lehrerin für Kunst und Theater gearbeitet. Seit 2013 ist sie mit dem Schwerpunkt Kulturelle Bildung in der Schulentwicklung tätig. Ihr besonderes Interesse und ihre Forschung gilt den aktivierenden Potenziale auditiven Dokumentierens im schulischen Kontext unter Berücksichtigung der perspektivischen Diversität. In ihrer response sucht sie nach Antworten auf die Fragen, woher die Texte v. Bernstorffss ihre faszinierende Kraft beziehen, welche theoretischen Referenzen ihnen zugrunde liegen und wie das von ihr entwickelte performative writing im Kontext von Bildungsforschung wirksam werden könnte. (shrink)

Ted Schick grapples with the New Age thinker Fritjof Capra. Is Capra right to suggest that the Eastern Mystics have been vindicated by the discoveries of modern science?

Levi’s work in decision theory has for many years been a major influence on the field. His writings have raised important new issues and opened new lines of inquiry. This collection of his papers brings out the range of his recent studies and the close bearing of his work on the work of others.

Abstract In this paper, I ask why Aristotle thinks that ethical virtue (rather than mere self-control) is required for practical wisdom. I argue that a satisfactory answer will need to explain why being prone to bad appetites implies a failing of the rational part of the soul. I go on to claim that the self-controlled person does suffer from such a rational failing: a failure to take a specifically rational kind of pleasure in fine action. However, this still leaves a (...) problem: could there not be someone who (unlike the self-controlled person) took the right kind of pleasure in fine action, but who failed to be virtuous on account of bad appetites? If so, would such a person be practically wise but not virtuous? I end with some suggestions about how Aristotle might answer this. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 92 Heft: 2 Seiten: 468-500.

When Jakob Freudenthal published Die Lebensgeschichte Spinozas in 1899, it was the first collection of biographical documents on Spinoza, who was then still seen as something of an ascetic and isolated philosopher. This view had been suggested by Jarig Jelles’ preface to Spinoza’s Opera posthuma. Bayle had also used Spinoza’s unique vita when arguing for his claim that an atheist could live a virtuous life. While this had offered a pretext for reading Spinoza since the end of the seventeenth century, (...) once he was “christianized” by German idealism it became increasingly a way to ignore his critique of religion, as well as his Jewish roots. Our knowledge of Spinoza’s life was further extended by the findings of Carl Gebhardt, who, in a series of articles beginning in 1922, pointed to Spinoza’s association with Jewish heresy in Amsterdam. As a result, Spinoza’s turn to modern science and philosophy was seen as due, to some extent, to his association with Jewish heresy in Amsterdam. The next great step in Spinoza historiography was taken in 1932 by Mordechai Vaz Dias and Willem Tak, who published new biographical material showing us the young merchant Spinoza.Although none of the documents found since have changed our picture of Spinoza’s life as dramatically, they have never been collected in one place. Thanks to Walther’s new edition, we now have almost all of these documents in two large volumes with a rich commentary, the first of which includes the documents and. (shrink)