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Possibility and Reality
This series provides a forum for cutting-edge studies in logic and the modern philosophy of language as well as for publications in the field of analytical metaphysics.
Many-Valued Aesthetics
»Yes, No, Perhaps« are the most written words in Mary Bauermeister's artworks. Together they stand for the concept of many-valued aesthetics in the German artist's oeuvre - an aesthetic that Bauermeister developed using many-valued logic. Hauke Ohls brings the artist's central groups of works in context with each other as well as with the neo-avant-garde of the post-war period in Europe and the USA. He shows that the development of Bauermeister's art may appear disparate, but her canvas and relief works, drawings and writing pictures, lens boxes and stone pictures are characterized by a reciprocal relationship of combinations and interconnections. Through the ubiquitous use of meta-references, the entire oeuvre ultimately appears as an interconnected assemblage.
Grazer Philosophische Studien
Inhaltsverzeichnis/ Table of Contents*** Abhandlungen/ Articles*** Werner SAUER: Die Einheit der Intentionalitätskonzeption bei Brentano *** Tanja PIHLAR: Zur Th eorie der Vorstellungsproduktion (Grazer Gestalttheorie I: France Weber)*** Thane Martin NABERHAUS: Does Husserl Have an Argument against Representationalism?*** Torsten WILHOLT: Lost on the Way from Frege to Carnap: How the Philosophy of Science Forgot the Applicability Problem*** John PRESTON: Janik on Hertz and the Early Wittgenstein*** Friedrich Christoph DOERGE: Re-Definition and Alston's 'Illocutionary Acts'*** Michael VEBER: N.
Begriffliches Sehen
‚Je ne sais quoi’ – diese Formel galt im absolutistischen Frankreich als höchstes Lob der Kunst. Eine Sprachlosigkeit dieser Art konnte sich die Kunstgeschichte im 19. Jahrhundert nicht mehr erlauben, wollte sie sich als Wissenschaft etablieren. Die Bildbeschreibung musste als Übersetzungsleistung im Sinne eines Beobachtungsprotokolls und Ordnungselements akzentuiert werden, das weitere methodische Zugriffe auf das Objekt – das Kunstwerk – erlaubte. Anhand der wichtigsten Publikationsgattungen der Kunstgeschichte wird aufgezeigt, wie die Bildbeschreibung eine eigene funktionale Heuristik bekam und sich Formeln für ‚Objektivität’ in einer noch jungen Wissenschaft entwickelten.
Czech feature film
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Historica
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How can conceptual content be social and normative, and, at the same time, be objective?
In this book, Andrea Clausen intends to reconcile Kripke's point according to which conceptual content has to be considered as being constituted by social, normative practice - by a process of mutual assessments - with the view that the content of empirical assertions has to be conceived as objective. She criticizes approaches that explicate content-constitutive practice in non-normative terms, namely in terms of sanctioning behavior (Haugeland, Pettit, Esfeld). She also rejects a pragmatist reading of Heidegger that proceeds from thoroughly normative but pre-conceptual practice. She develops and defends a particular reading of an approach that conceives normative, conceptually articulated practice - giving and asking for reasons - as primitive (Brandom, McDowell).
Cultures of Lying
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Jazz
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