Plausibility and Aesthetic Interpretation

1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Scientific Inquiry ◽  
The Other ◽  
Inquiry Science ◽  
Works Of Art ◽  
Different Types ◽  
Logical Structures ◽  
The One

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.

Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Posthuman oder Übermensch. War Nietzsche ein Transhumanist?

2013 ◽  
Vol 42 (1) ◽  
Author(s):  
Michael Skowron
Keyword(s):  
Genetic Manipulation ◽  
Linguistic Analysis ◽  
The Other ◽  
The Internet ◽  
Jürgen Habermas ◽  
Eternal Recurrence ◽  
Different Types ◽  
The Future ◽  
The One ◽  
Michael Sandel

AbstractRecent discussions (especially in the Internet) about the question whether Nietzsche was a Transhumanist or at least a forerunner of the Transhumanist movement have drawn new attention to Nietzsche’s concept of the Overhuman and the relation to the Posthuman. The article is taking a critical stance by turning suggested analogies between education and genetic manipulation of humans into an argument against the latter, by relating self-education to self-overcoming and eternal recurrence of the same (which is excluded by Transhumanists), and by reminding of Nietzsche’s distinction between ‘Overhuman’ and ‘last human’ as two different ways to the future. Linguistic analysis of the epitheta used in speaking of the different ‘types’ in question as well as structural analogies between critical considerations in Michael Sandel and Jürgen Habermas on the one hand, Nietzsche on the other are also evidence that Nietzsche would not have endorsed the technological path to perfection of the human but would emphasize his own way of self-overcoming instead.

Multichannel Modality in Displaying Information

2013 ◽  
Vol 4 (1) ◽  
pp. 60-79 ◽  
Author(s):  
Elisa Benetti ◽  
Gianluca Mazzini
Keyword(s):  
Computer Science ◽  
Public Administration ◽  
The Other ◽  
Public Institution ◽  
Automated System ◽  
Government Services ◽  
Physical Location ◽  
The Past ◽  
Different Types ◽  
The One

Computer science and telecommunications are increasingly important in society and this leads also public administrations to take advantage of ICT, in order to communicate with citizens in a more rapid and simpler way than the complex and paper-based bureaucracy of the past. While on the one hand the use of these technologies responds to the duty of any public institution to involve the largest number of addressees, on the other hand, society must also consider the limitations of these technologies. Firstly not everybody is so familiar in their use. Moreover, the digital administration thus becomes virtual, accessible only through technological devices and not present in a physical location, and is therefore essential to ensure full coverage of the territory, which is currently not always possible. The main novelty of this paper is the implementation of an automated system capable of adapting different types of government services to multiple communication media. The joint exploitation of multiple technologies allows to use the strengths of one of them when are found the limits of another, making this multichannel modality the solution to the requirement of ICT in public administration.

ECOLOGICAL STUDY OF THE PEAT BOGS OF EASTERN NORTH AMERICA: III. NOTES ON THE BEHAVIOR OF CHAMAEDAPHNE CALYCULATA

1956 ◽  
Vol 34 (1) ◽  
pp. 197-207 ◽  
Author(s):  
Kornelius Lems
Keyword(s):  
Ecological Study ◽  
The Other ◽  
Soil Conditions ◽  
Peat Bogs ◽  
Eastern North America ◽  
Physiological Basis ◽  
Chamaedaphne Calyculata ◽  
Different Types ◽  
The One ◽  
The Relationship

This paper presents data and observations concerning Chamaedaphne calyculata (L.) Moench. (Ericaceae). The branching pattern, the longevity of different types of leaves, and features of flowering are shown to be correlated. The relationship between this complex of features and the habitat is studied, and a few speculations are advanced to explain the physiological basis for the behavior of Chamaedaphne. This study is essentially autecological, and it is hoped that it may constitute a link between the study of soil conditions and the response of plant hormones on the one hand, and phytosociological work in peat bogs on the other hand.

scholarly journals Bayesian over-dispersed Poisson model and the Bornhuetter & Ferguson claims reserving method

2012 ◽  
Vol 6 (2) ◽  
pp. 258-283 ◽  
Author(s):  
Peter D. England ◽  
Richard J. Verrall ◽  
Mario V. Wüthrich
Keyword(s):  
Poisson Model ◽  
The Other ◽  
Prior Distributions ◽  
Prediction Uncertainty ◽  
General Insurance ◽  
Other Hand ◽  
Different Types ◽  
Chain Ladder ◽  
The One ◽  
Classical Chain

AbstractWe consider the Bayesian over-dispersed Poisson (ODP) model for claims reserving in general insurance. We choose two different types of prior distributions for the parameters and then study the different Bayesian predictors. This study leads, on the one hand, to the classical chain ladder predictor and, on the other hand, to Bornhuetter & Ferguson predictors. We highlight (either analytically or numerically) how these predictors are obtained and how their prediction uncertainty can be determined.

Ästhetische Objektivität

2015 ◽  
Vol 63 (6) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
The Other ◽  
Works Of Art ◽  
The Difference ◽  
The One

AbstractThe question posed in this paper is in what sense we should say that our judgments about works of art can claim to be objective. It draws upon recent discussions in analytical aesthetics on the one hand and on the work of Hegel, Gadamer and McDowell on the other. The aim of the paper is to argue for the possibility of an objectivistic understanding of judgments on works of art. It does so by trying to render the foundations of subjective accounts of such judgments problematic and by trying to show that the difference between objective and mere intersubjective claims of judgments isn’t a valid difference at all.

scholarly journals Probabilistic kingdom: problem of objectivity in contemporary science

2020 ◽  
Vol 9 (2) ◽  
pp. 317-327
Author(s):  
Paweł Pruski
Keyword(s):  
Modern Science ◽  
The Other ◽  
Objective Probability ◽  
Degrees Of Belief ◽  
Scientific Debate ◽  
Other Hand ◽  
Contemporary Science ◽  
Objective Interpretation ◽  
Different Types ◽  
The One

In modern science, the theory of probability is one of the basic tools. Scientists using probability often refer to its objective interpretation. They emphasize that their probabilistic hypotheses concern objective facts, not degrees of belief. Accordingly, the following questions arise: What is the meaning of this type of probabilistic hypothesis? Is the assumption of objectivity necessary? The paper addresses these questions by analyzing objective probability in the context of the scientific debate on determinism. Two types of arguments will be presented. On the one hand, there is the assertion that objective probability can exist only in an indeterministic world. Then, on the other hand — I analyze the assertions of those who believe in the co‑existence of objective probability and determinism. As a result I show that the acceptance of deterministic and indeterministic fields as possible areas where objective probability can occur is extremely problematic. Depending on the chosen area we encounter different types of problems. Therefore, I show that a significant number of these problems are associated with the acceptance of incorrect metaphysical assumptions. And finally, I postulate that the objectivity of probability (and assumptions pertaining to it) can be reduced (without any losses) to the epistemic variant.

scholarly journals Colonialidad como emparentamiento y limpieza de sangre: un breve estudio sobre los aportes de Santiago Castro-Gómez.

Sincronía ◽  
2021 ◽  
Vol XXV (80) ◽  
pp. 160-175
Author(s):  
Celeste Florencia Ramirez ◽  
Keyword(s):  
Michel Foucault ◽  
The Other ◽  
The Political ◽  
Modus Operandi ◽  
Other Hand ◽  
Limpieza De Sangre ◽  
Different Types ◽  
The One ◽  
Personal Interests ◽  
The Way

In the present work, in the light of the reading of the philosopher Santiago Castro-Gómez, we will try to elucidate his theory about the coloniality of power and the way in which such a device codified the bodies according to the discourse of blood cleansing. So, first, we will briefly develop two different types of theories about power: on the one hand, the theory of the coloniality of power, presented by the Peruvian sociologist Aníbal Quijano; on the other hand, the analytics of power, developed by Michel Foucault. Both theories, which seem incommensurable, are put into dialogue by our philosopher. In the second part of our work, we will prepare to present the practices and modus operandi corresponding to the coloniality of power to manifest its uniqueness in comparison to other types of powers. Likewise, we will show how a certain sector of the population, in an attempt to consolidate their family and personal interests, used these practices to limit corporality. Third, and by way of conclusion, we will make a brief sketch about the link between the coloniality of power and the political practices of current Colombia.

scholarly journals Ontological Machinery of the Artistic Process: the Becoming-Technical and Art

TECHNOLOGOS ◽  
2020 ◽  
pp. 88-98
Author(s):  
Tcyrlina Yana
Keyword(s):  
Modern Art ◽  
The Other ◽  
Dual Purpose ◽  
Artistic Process ◽  
Works Of Art ◽  
Urgent Task ◽  
The Difference ◽  
The One ◽  
Final Question ◽  
The Relationship

This article pursues dual purpose. On the one hand, the author analyzes the general and the most important in the technical being since only therewith it is possible to conceptualize the sphere of technical objects and to determine the place of technics with respect to the art. So the article is devoted to new ontological opportunity of the technics’ entity perception by its connection with art. This relationship we consider in the context of “technological revolution” in the art. Moreover, it has been tried to be revealed possible mechanisms of technics emancipation with the help of the art and to be shown that technology can emancipate the art using both artistic techniques and inartistic technological processes. On the other hand, the aim of our article is to provide with a presentation of some onto technological key ideas, along with some conceptual approaches (for example, Levis Brуant’s onto-cartography) which we can distinguish by their further connection with the modern art. Conception of ontology in the terms of technics by all means has become the urgent task for philosophy, and one of the ways to solve this task is to investigate the relationship between ontology and technics. The author of the article argues that the confrontation between nature and technology is an illusion. We tried to complete this argument combining the ontology of nature and of technology in one concept – the concept of machine. Recently most works of art have become technological objects revealing the problem of “technical” art. In the article it is proposed the analysis of some modern works of art and is demonstrated that “the nature” and technics cannot be no more opposed and differentiated since one gives birth to another. Moreover, it is existed only techno-nature and its production (in the difference of repetition and creation) is the final question of techno-art.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

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