THE HOMO FABER DEBATE IN DEWEY AND MAX SCHELER

2019 ◽  
pp. 231-240
Keyword(s):  
Max Scheler ◽  
Homo Faber

Kontrast und Wissen

2009 ◽  
Vol 54 (1) ◽  
pp. 69-102
Author(s):  
Robin Rehm
Keyword(s):  
19Th Century ◽  
Edmund Husserl ◽  
Specific Knowledge ◽  
Max Scheler ◽  
Black And White ◽  
Black Circle ◽  
Black Cross ◽  
Definition Of ◽  
And Function ◽  
The 19Th Century

Kasimir Malewitschs suprematistische Hauptwerke ›Schwarzes Quadrat‹, ›Schwarzer Kreis‹ und ›Schwarzes Kreuz‹ von 1915 setzen sich aus schwarzen Formen auf weißem Grund zusammen. Der Typus des Schwarzweißbildes weist überraschende Parallelen zu den bildlichen Wahrnehmungsinstrumenten auf, die vom ausgehenden 18. bis Anfang des 20. Jahrhunderts in den Experimenten der Farbenlehre, physiologischen Optik und Psychologie verwendet worden sind. Die vorliegende Studie untersucht diese Parallelen in drei Schritten: Zunächst erfolgt eine allgemeine Charakterisierung des Schwarzweißbildes mit Hilfe des Kontrastbegriffs von Edmund Husserl. Des weiteren wird die Entstehung und Funktion des schwarzweißen Kontrastbildes in den Wissenschaften des 19. Jahrhunderts typologisch herausgearbeitet. Unter Berücksichtigung des Wissensbegriffs von Max Scheler wird abschließend die Spezifik des Wissens eruiert, das die Schwarzweißbilder sowohl in der Malerei Malewitschs als auch in den genannten Wissenschaften generieren. Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.

La dernière métaphysique de Max Scheler

1980 ◽  
Vol 78 (40) ◽  
pp. 553-561
Author(s):  
Heinz Leonardy
Keyword(s):  
Max Scheler

scholarly journals On the Juridical Relevance of the Phenomenological Notion of Person in Max Scheler and Edith Stein

2021 ◽  
Author(s):  
Francesco Galofaro
Keyword(s):  
Artificial Intelligence ◽  
Edmund Husserl ◽  
Phenomenological Analysis ◽  
Machine Learning Algorithms ◽  
Decision Makers ◽  
Edith Stein ◽  
Max Scheler ◽  
Human Decision ◽  
The Difference ◽  
Social Units

AbstractThe paper presents a semiotic interpretation of the phenomenological debate on the notion of person, focusing in particular on Edmund Husserl, Max Scheler, and Edith Stein. The semiotic interpretation lets us identify the categories that orient the debate: collective/individual and subject/object. As we will see, the phenomenological analysis of the relation between person and social units such as the community, the association, and the mass shows similarities to contemporary socio-semiotic models. The difference between community, association, and mass provides an explanation for the establishment of legal systems. The notion of person we inherit from phenomenology can also be useful in facing juridical problems raised by the use of non-human decision-makers such as machine learning algorithms and artificial intelligence applications.

Homo Faber. Technology and Culture in India, China and the West From 1500 to the Present Day.

1981 ◽  
Vol 54 (1) ◽  
pp. 116
Author(s):  
Joseph Needham ◽  
Gregory Blue ◽  
Claude Alphonso Alvares
Keyword(s):  
The West ◽  
Technology And Culture ◽  
Homo Faber
Sign in / Sign up

Export Citation Format

Share Document