Nicolai Hartmann und die Gestalttheorie. Ein Vergleich unter dem Aspekt “Kausalität”

Summary In 1919 Nicolai Hartmann (NH) convincingly justified that there cannot exist a “general law of causation” as A. Meinong had in mind. For him Meinong’s understanding of causation (linear, successive in time) was bound on the region of the physical layer of being, simultaneously postulating it as the only possible causation there. This is the starting point of the comparison between N. Hartmann‘s understanding of causation and that of the Gestalt Theory, for which neither in psychic nor in natural (physical) context linear-successive causality plays a part. Therefore NH’s conception of 1919 was still completely incompatible with that of the Gestalt Theory despite the fact that he was distancing himself from the “general law of causation” sensu Meinong. 20 years later he changed this by adding the “Wechselwirkung” (interaction) to the linear successive causation in the physical layer. In doing so he approached the Gestalt theoretical position but failed it insofar as for it his linear-successive understanding of causation generally has had its day with regard to natural processes, also consequently for the physical (instead interaction between system and border conditions applies, an interaction of field forces). Thus the term “causation“ had become free for a dynamic concept of causation which is equally appropriate for the physical and the psychic. NH makes this move not until 1949, shortly before his death, by writing: ... (see original quotation in the German summary above). It is the opinion of the author of this work that the ingenious systematics of NH‘s Critical Ontology (which is not a closed system) should make it possible to execute the necessary corrections in some details of his theory of layers without questioning the structure of his systematics, thus carrying out what NH was not able to do himself due to his death.

Fundamentación ontológica del mundo virtual a partir de la filosofía de Nicolaï Hartmann

En el siguiente artículo se presenta una investigación filosófica acerca de la conformación ontológica delmundo virtual. Esta es un aporte teórico al debate contemporáneo de la filosofía de la computación sobrela caracterización ontológica de la computación digital y sus productos emergentes, ya que se propone unaaproximación a este campo de estudio desde la perspectiva filosófica de Nicolaï Hartmann. El objetivo principal del presente artículo es explicar la estratificación del mundo virtual a partir de la teoría ontológica de estratos y categorías de Hartmann. Para cumplir con este objetivo se procedió a una revisión crítica del estado de la cuestión de la ontología filosófica de la virtualidad. Luego se procedió a presentar una propuesta de estratificación y categorización denominada ‘La fábrica del mundo virtual’ que es una ontología hermenéutica de la virtualidad digital basada en los postulados de Hartmann. Las principales conclusiones alcanzadas son: i) La emergencia de la realidad del mundo virtual se encuentra constituida de los mismos estratos que conforman la esfera del conocimiento del mundo real: material, orgánico, psíquico y social. ii) La realidad virtual es un producto de la computación que ocurre en la esfera del conocimiento en el que existe intervención de la esfera ideal y de la esfera del mundo real.

Sublime in the aesthetics of Nicolai Hartmann and Edmund Burke

This article is dedicated to the interpretation of the aesthetic thought of Nicolai Hartmann and Edmund Burke, that is, the interpretation of their different understandings of the sublime, and its relation to the beautiful. While Hartmann?s sublime is an aesthetic value that is subordinate to the beauty, Burke defines the sublime as a form of aesthetic experience that is on the same level as beautiful. Burke forms an understanding of the sublime based on his analysis of the aesthetic experience, which includes his understanding of passions, states of the soul and the analysis of the sensible qualities of the aesthetic objects, while Hartmann formally considers sublime as one kind of beautiful, and reaches his understanding of it based on his inquiry of the aesthetic object and his definition of beautiful.