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This essay develops a theory of improvisation as practice of aesthetic sense-making. While considering all arts, references are made to many concrete cases. A topic in vogue since the XX. century, as evidenced by the great philosophers who were interested in it (Ryle, Derrida, Eco among others), improvisation, a felicitous mixture of habit and creativity, norm and freedom, is constitutive of human action. Human practices – including very well-regulated activities such as playing chess, piloting airplanes, or medicine – permit and often require it to varying degrees.
Improvisation is also the true source of artistic experience. Consequently, the aesthetics of improvisation result in a philosophy of art: Art was born as improvisation. Yet improvisation has its own aesthetic dimension: that of a "grammar of contingency" in which notions such as emergence, presence, curiosity and authenticity explain the pleasures of joyful adventure and empathic involvement elicited by improvisation.
Author: Ludwig Siep
Recent aspirations towards the technical perfection of humanity and nature call for a new type of ethics.
The overcoming of all human weakness is often viewed as a personal right as well as a common good. But fully overcoming human weakness would undermine the basis for mutual support and recognition. The achievement of complete technical independence from natural forces would end the embeddedness of humanity within natural history. This book defends the necessity of ethical assessment against the automatism of relying on technical developments or market processes. To identify both the values and ethical limits of technology development, criteria for the goodness of human life, and for nature in general, are required. This includes a meta-ethical discussion of moral objectivity, philosophical anthropology, and moral history. On the basis of that discussion, conclusions are drawn about ethical debates in the domains of medicine, biotechnology, and information technology.
Konzeptionelle, soziale und ethische Implikationen neuer Mensch-Technik-Verhältnisse
Die Beiträge des Bandes untersuchen, inwiefern aktuelle Entwicklungen im Bereich der Künstlichen Intelligenz (KI) zu neuartigen Interaktionsprozessen führen und das Verhältnis von Menschen und Maschinen verändern.
Im ersten Teil des Bandes werden neue Entwicklungen KI-basierter Technologien in diversen Anwendungs- und Entwicklungsbereichen vorgestellt. Im zweiten Teil werden hier zu beobachtende neuartige Mensch-Maschine-Interaktionen aus unterschiedlichen disziplinären Perspektiven diskutiert. Im dritten Teil werden diese auf ihre sozialen, ethischen und epistemologischen Implikationen hin befragt.
Prolegomena to Ecological Thinking in Heidegger
Author: James Fontini
"Nature as Limit" provides an account of Nature in terms of the collapse of the subject-object binary, presenting Heidegger’s work as a series of prolegomena toward a prospective ecological thought. This begins with a critical re-evaluation of the homology Heidegger discovers between the essence of technology and the trajectory of Western metaphysics, with special attention paid to his return to Aristotle’s Physics in 1939. The essence of technology is, in fact, an intrinsic aspect of Nature. It lies at the heart of all structured appearance as an autonomous occurrence in which humankind is entangled but cannot master. Examining and expanding upon the consequences of this, the book reimagines technics and our understanding of Nature as ‘technical image’ and beyond. The question of Nature becomes that of an unwavering finitude within the endless recycling of formal phenomenality. Transfiguring Heidegger’s concept of Ereignis and critiquing in passing some of its accepted interpretations, the book argues that Nature is a process or occurrence of limitation. It is a delimitation that both sets in motion and keeps in motion without itself ever coming into the picture. It is an uncapturable immanence in the total field of phenomena, irreducible to any presence and thus implicating an ‘absence’ at the heart of every occurrence, an incompletedness of any naturalism. This view of Nature is further explored through a series of figures of localization—Dasein, thing, clearing, et al.— that raise strange and compelling questions about time, space, and history, and which lead finally to a re-characterization of Dasein as an inversion of its environment as ecological awareness. These adventurous considerations push at the outer limits of what Heidegger’s philosophy can accomplish and conclude with a vision of how the motifs of death, poetry, and the unknowable help form the fundamental questions of ecological thought. "Nature as Limit" confronts Heidegger’s use of language on its own terms, exploring the full breadth of its intention, then proceeds to a demystification of that language, a reappraisal that offers a new lexicon for future readers. At stake is a reading of a rather unfamiliar Heidegger that nonetheless remains faithful to his text and rigorous in its reconstruction.
Eine Analyse der faschistischen Rhetorik zwischen 1929 und 1936