This thesis identifies, in Nancy's The Fall of Sleep, a crucial critique of phenomenology. A criticism that demarcates, or limits, phenomenology in declaring: “There is no phenomenology of sleep”. Taking-up this challenge, we consider a number of ways that phenomenologists have, and could, approach sleep. Our thesis, however, does not simply offer possible responses to the problem but also finds, in these answers, important insights into the essence of the charge itself. Sleep and phenomenology are found to be mutually de-limiting – each binds the other, whilst offering foundational insights into its counterpart. Fundamentally, we bring phenomenologies of sleep, as opposed to simply phenomenology, into dialogue with this, Nancean, critique of phenomenology and with Nancy's account of sleep itself. We describe the distinctly different slumbering interpretations of sleep present, and conspicuously absent, in the work of: Husserl, Heidegger, and Levinas. Part I, after initially elaborating the challenge, presents a direct Husserlian counter, via a recent reconstituting of Husserl's late notes on sleep. The strengths and weaknesses of this phenomenological investigation sharpens the problem of sleep and leads us to pull back from consciousness-centred accounts. Part II, in contrast, develops our own hypothetical Heideggerian answer. This Part, the longest, uses Heidegger's existential and comparative analytics to ask ‘Does Dasein sleep?' This question reveals internal ambiguities of sleep – positioned between existence, life, and death. Part III withdraws from Heideggerian thinking through Levinas's incisive, and early, interpretation of sleep. This Levinasian retracting opens the possibility of returning to Nancy's challenge and corresponding description of sleep. Now this radical account is located in relation to, and in communication with, the somnological-phenomenological findings we have awakened in our thesis. The thesis ends by indicating a possible, future, return back from sleep to phenomenology – a dream, still hazy from sleep, of a somnolent phenomenology.

This thesis breaks new ground by attending to two contemporary developments in art and science. In art, computer-mediated interactive artworks comprise creative engagement between collaborating practitioners and a creatively participating audience, erasing all notions of a dividing line between them. The procedural character of this type of communicative real-time interaction replaces the concept of a finished artwork with a ‘field of artistic communication'. In science, the field of creativity research investigates creative thought as mental operations that combine and reorganise extant knowledge structures. A recent paradigm shift in cognition research acknowledges that cognition is embodied. Neither embodiment in cognition nor the ‘field of artistic communication' in interactive art have been assimilated by creativity research. This thesis takes an interdisciplinary approach to examine the embodied cognitive processes in a ‘field of artistic communication' using a media artwork called Sim-Suite as a case study research strategy. This interactive installation, created and exhibited in an authentic real-world context, engages three people to play on wobble-boards. The thesis argues that creative processes related to Sim-Suite operate within a continuum, encompassing collaborative artistic creation and cooperative creative participation. This continuum is investigated via mixed methods, conducting studies with qualitative and quantitative analysis. These are interpreted through a theoretical lens of embodied cognition principles, the 4E approaches. The results obtained demonstrate that embodied cognitive processes in Sim-Suite's ‘field of artistic communication' function on a continuum. We give an account of the creative process continuum relating our findings to the ‘embedded-extended-enactive lens', empirical studies in embodied cognition and creativity research. Within this context a number of topics and sub-themes are identified. We discuss embodied communication, aspects of agency, forms of coordination, levels of evaluative processes and empathetic foundation. The thesis makes conceptual, empirical and methodological contributions to creativity research.

Reversal learning deficits are a feature of many neuropsychiatric disorders, most notably schizophrenia. These deficits could be due, in part, to altered ability to dissipate either or both associations of previous positive (perseverance) and negative (learned non-reward) valence. Studies reported in this thesis developed an egocentric maze task and a visuospatial operant task for separate assessments of spatial reversal learning, perseverance and learned non-reward in mice. These tasks were subsequently used to assess the cognitive causes for altered performance after manipulations to brain systems recognised to be involved in reversal learning and relevant for human psychopathology, with a specific focus on schizophrenia. NMDA receptor (NMDAr) antagonism through acute phencyclidine did not affect reversal learning in the operant task, but caused general impairments in the maze task. Orbitofrontal (OFC) lesioned mice showed perseverative impairments in the operant task. Mice treated with the 5-HT2C receptor (5-HT2CR) antagonist SB242084 and 5-HT2CR KO mice showed facilitated reversal learning and decreased learned nonreward in the operant task. In the maze task, SB242084 decreased perseverance but increased learned non-reward, while 5-HT2CR KO mice showed perseverance and discrimination learning deficits. The final experimental chapter investigated the effect of SB242084 on touch-screen visual reversal learning in the rat. SB242084 retarded learning in this task. These studies demonstrate that previously non-reinforced associations can be of considerable importance in tasks of cognitive flexibility. The studies also show that the NMDAr, the 5-HT2CR, and the OFC, are involved in reversal learning and can modulate mechanisms related to both perseverance and learned non-reward. Moreover, in reversal learning, few effects of manipulations affecting PFC-functioning, or activity at the NMDAr and 5-HT2CR, generalise across the procedures in the visuospatial, egocentric spatial, and visual domains.

<p>This dissertation examines how creativity can be of benefit for the school. It discusses if there is a need or demand for it and how the present situation is in Swedish schools. Defining creativity accurately is difficult but it is relevant to look at the environments that use creativity. There is a vast amount of literature that uses creativity and it varies to some extent. Creativity originates from meetings and combinations, both within and outside of the individual. The essay will show psychologists and pedagogs view on encouragement for creativity and it will especially study the art subjects in relation to the other ones in order to se what gains collaborations between them may bring . More thorough collaborations may be a good cross disciplinary structure in “projektarbete” (cross-cultural communication) which stimulates creativity in both education and within the school. Just as creativity is found in various environments the school benefits from studying the parts of society that uses creativity, to see what the expectations may be on the students in the future.</p> / <p>I denna uppsats undersöks hur kreativitet kan vara till nytta för skolan. Det kommer att diskuteras om det finns ett behov och en efterfrågan av kreativitet och hur det förhåller sig i nuläget med denna inom skolan i Sverige. Att exakt definiera kreativitet är svårt och därför kan det bli mer fruktbart att utforska kreativitetens användningsområden och funktioner. Det finns en mängd litteratur från skilda områden och den varierar en hel del. Kreativitet uppkommer ur möten och kombinationer, både inom individen och utanför denne. I uppsatsen nämns också ett antal psykologers och pedagogers syn på uppmuntran till kreativitet. Särskilt diskuteras de estetiska ämnena i relation till de övriga för att se vilka förtjänster ett samarbete kan ge. Vidare visar sig samarbeten genom exempelvis projektarbete vara en bra tvärvetenskaplig företeelse som kan stimulera kreativitet i undervisningen och i skolan. Liksom kreativitet återfinns i skilda områden så kan skolan ha nytta av att se hur olika delar av samhället använder sig av kreativitet, och för att se vilka förväntningar som kan komma att ställas på eleverna i framtiden.</p>

This dissertation examines how creativity can be of benefit for the school. It discusses if there is a need or demand for it and how the present situation is in Swedish schools. Defining creativity accurately is difficult but it is relevant to look at the environments that use creativity. There is a vast amount of literature that uses creativity and it varies to some extent. Creativity originates from meetings and combinations, both within and outside of the individual. The essay will show psychologists and pedagogs view on encouragement for creativity and it will especially study the art subjects in relation to the other ones in order to se what gains collaborations between them may bring . More thorough collaborations may be a good cross disciplinary structure in “projektarbete” (cross-cultural communication) which stimulates creativity in both education and within the school. Just as creativity is found in various environments the school benefits from studying the parts of society that uses creativity, to see what the expectations may be on the students in the future. / I denna uppsats undersöks hur kreativitet kan vara till nytta för skolan. Det kommer att diskuteras om det finns ett behov och en efterfrågan av kreativitet och hur det förhåller sig i nuläget med denna inom skolan i Sverige. Att exakt definiera kreativitet är svårt och därför kan det bli mer fruktbart att utforska kreativitetens användningsområden och funktioner. Det finns en mängd litteratur från skilda områden och den varierar en hel del. Kreativitet uppkommer ur möten och kombinationer, både inom individen och utanför denne. I uppsatsen nämns också ett antal psykologers och pedagogers syn på uppmuntran till kreativitet. Särskilt diskuteras de estetiska ämnena i relation till de övriga för att se vilka förtjänster ett samarbete kan ge. Vidare visar sig samarbeten genom exempelvis projektarbete vara en bra tvärvetenskaplig företeelse som kan stimulera kreativitet i undervisningen och i skolan. Liksom kreativitet återfinns i skilda områden så kan skolan ha nytta av att se hur olika delar av samhället använder sig av kreativitet, och för att se vilka förväntningar som kan komma att ställas på eleverna i framtiden.

The following dissertation is an endeavor to put forward the conceptual background of Gadamer&rsquo / s assertion in Truth and Method that art has a truth value. This conceptual background includes many important concepts which are indispensable in understanding the assertion that art has a truth value. Second chapter is mainly concerned with Bildung and sensus communis. Bildung describes the nature of knowledge which flourishes in the character of the person and which changes that person by penetrating the personality of him. Sensus communis describes the relationship of truth with the power of persuasion and the power of making right choices in social life. Taste, on the other hand, not only accompanies us when we are fulfilling our most basic needs in life and also shows itself in all of our moral decisions. In that sense, a developed taste is very effective in directing us to the truth. The third chapter offers an analysis of Gadamer&rsquo / s critique of Kant&rsquo / s aesthetics revolving around the concepts of judgment, taste, genius and Erlebnis. For Gadamer, Kant has subjectivized aesthetics. This subjectivization has two sides. Firstly, Kant argues that the experience of beauty does not give us any knowledge about the beautiful object. That is to say, Kant insists that aesthetic experience does not contain any cognitive element, because he believes that the only source of truth and knowledge is science. Secondly subjectivization means that Kant reduced art and beauty only to the experience of it / he talks only about experience of beauty, not about work of art itself at all. The forth chapter introduces the ontology of the work of art which is elaborated mainly on concepts of play, representation, mimesis, total mediation, contemporaneity. When inquiring into the mode of being of play, Gadamer defends that the subject of the play is play itself and in the same way in the experience of art the subject is not the subjectivity of the person who experiences it but the work of art. In the last chapter history of hermeneutics is elaborated in order to find the proper place of Gadamer&rsquo / s constituting concepts in the general frame of hermeneutics.

Baigiamajame magistro darbe plačiau aptariamos kultūros paveldo (dėmesys fokusuojamas į architektūros paveldą) integracijos į šiuolaikinės taip vadinamos tinklaveikos visuomenės ekonominę ir socialinę sistemą. Darbe laikomasi principinio požiūrio, kad šiuolaikinis darbo, laisvalaikio organizavimas ir individų identitetai sąveikauja nuolatinio tapsmo sąlygomis ir yra priklausomi vieni nuo kitų. Vietos įvaizdis šiuo požiūriu tampa itin svarbus miesto/regiono/valstybės savęs reprezentacijos įrankis šiuolaikinėje žinių valdymu grįstoje visuomenėje. Šioje postruktūralistinėje vartotojų visuomenėje architektūros paveldas ir naujos architektūros intervencijos gali būti vienas esminių įrankių komunikuoti žinių pertekliaus epochoje. Pagrindinis tyrimo tikslas apibrėžti Kauno miesto patirtis ir galimybes reprodukuoti ir publikuoti žinių bagažą konceptualiai pristatant vietą. Todėl trijose darbo dalyse, naudojant specialiai susiformuotus teorinius tyrimo metodus aiškinamasi vietos įvaizdžio sampratos kaita pereinat iš industrinės į postindustrinę epochas, taip įvaizdžio diegimo problematika. Vėliau pereinama prie Kauno miesto patirčių ir potencialo analizės, paradomi charakteringi pavyzdžiai atitinkantys tiek vakarų vartotojiškos kultūros modifikacijas, tiek postkolonialinias įtakas vienaip ar kitaip formuojančias tiek vietos identitetą, tiek kultūros paveldo apsaugos/niokojimo apraiškas. Trečioji dalis skirta Kauno miesto kaip vietos naratyvo kūrimo galimybėms ir problematikai... [toliau žr. visą tekstą] / The thesis is to be about the first deeper glance in Lithuania issueing the place image throught architectural and cultural heritage management. The key factor is to challange the paradigma of how individual or scietist perceive architectural processes due side effets of changing World. Nevertheless, cultural heritage in Lithuania has a feature in academical field to be self-centered so hardly ever usefull for wider sociocultural progress if we consider that tourism or old town vitality is based not on heritage management itself, but depends on traditionally perceived which are the best routes for tourists or traditional area of walking around. This issue claims that in so called network society the most important is to recognise the possibilities and threats for architectural heritage to become an actine participator of network progress. It is clarely seen, that internet technologies and communicational options is to be elimate a traditional urban space out of field of public interest. However, city image is about to sell a place no matter in digital or either in real dimentions. Master work is solving the issue how the Kaunas could work and produce its image via architectural representation‘s forms and manners. First part of work is to describe early perception of place image in western countries. As a matter of fact, there‘s notice made that place image should meet an expectation. Since public realtions have became part of everydays expeirience and its self being... [to full text]

The object of this paper is searching for the significance of understanding landscape in the formation of human religiosity. The first part of the paper called Human and landscape attempts to present general characteristics of the relationship of humans and landscape. The second part is devoted to the development of landscape perception of some authors (J. J. Rousseau, Jiří Sádlo, Václav Cílek). The third chapter finds connections between internal experience and the environment humans live in. It is a dynamic relationship which affects the formation of religiosity. Further, human religiosity, the symbolic meaning of landscape and the specific characteristics of adolescence are defined. The conclusion presents particular suggestions for educational work with young adolescents by means of dialogue and participation in landscape.

O presente trabalho tem como objetivo principal investigar o problema da autonomia estética da música instrumental no Romantismo alemão. Através do exame de textos filosóficos, literários e de crítica musical, procuramos investigar a seguinte questão: como foi possível que a arte musical que até o século XVIII era considerada como um objeto indigno para a filosofia e para a estética se estabelecesse como a esfera mais elevada do espírito humano no Romantismo e no Idealismo alemão? A fim de responder a essa pergunta, pareceu-nos necessário levar em conta a maneira pela qual se compreendia a música no século XVIII e qual o conceito de razão que estava em sua base. A principal hipótese que procuramos explorar diz respeito à filosofia crítica de Kant, que permitiu que o pensamento encontrasse um paradigma na música. Com a chamada revolução copernicana, Kant acentuou a subjetividade de maneira radical, abrindo, pela primeira vez, a possibilidade da música ser reconhecida como uma linguagem não-objetiva, que foi desenvolvida principalmente por autores como Wackenroder, Tieck e Hoffmann. Todavia, as condições de possibilidade para a compreensão da música como expressão do inefável, bem como a proximidade que se estabelece entre música e religião, devem ser buscadas primeiramente na filosofia kantiana. / The main purpose of this research is to examine the problem concerning the aesthetic autonomy of instrumental music in German Romanticism. Through the examination of philosophical and literary texts, as well as musical criticism, the following question is investigated: how was it possible that the musical art - which was considered an unworthy object for the philosophy and the aesthetics until the 18th Century - could establish itself as the highest sphere of the human spirit during the Romanticism and the German Idealism? In order to answer to this question, it seems necessary to take into account the way music was understood during the 18th Century and what conception of Reason lay in its basis. Our main hypothesis concerns Kants critical philosophy, which made possible the thought of finding a paradigm in music. With the so called Copernican revolution, Kant stressed subjectivity in a radical way and, for the first time, provided the possibility of recognizing the music as a non-objective language, developed later by authors like Wackenroder, Tieck and Hoffmann. However, the conditions of possibility for the understanding of music as expression of the ineffable, as well as the proximity established between music and religion, must be searched firstly in the Kantian philosophy.

Probably the fundamental issue about the relation between art and beauty in the Critique of the Power of Judgment, of 1790, is the difficulty to recognize an object as a work of art (across a concept of art) and the judgment of taste, which when considered as pure cannot possess concepts that determine the object. Nevertheless, there does not seem to be another experience such as the experience of beauty for the recognition of beautiful artwork. Thus, it becomes necessary to explore the points of convergence between a production oriented to ends and the production of a beautiful object, considering, despite what has just been said, that the "concept" of work of art is different from any concept that could be considered to be an end of an intentional act. Along this dissertation we propose to explore the relations between the practice of genius and taste, as regulators of the artistic production, recognition and valuation of the works of art. We will consider for it, the possible rules of the genius, trying to isolate the formal and content aspects of the object. With this intention, we will depart from the classification of the works of art as forms of expressiveness, similar to the language, trying to show the weaknesses of any classic aesthetic norm in the establishment of rules of connection between forms and contents. Nevertheless, also we will evaluate the emphasis of Kant himself in supporting identifiable connections between the objects considered as works of art, specially the formal aspects of the same ones. From the previous analysis we will be forced to evaluate the relationship between beautiful art and nature. The failure of the arbitrariness, as a way for establish the artistic beauty in the assimilation to a form of language , leads us to recovering the theory of natural beauty, trying to find the points of contact between beauty and aesthetic the experience of art. Therefore, we will evaluate the consequences of the Kantian theory of art in relation to the aesthetic experience of the "Analytic of the Beauty ", distinguishing the difficulties that Kant might have had in mind when he developed his philosophy of art. The fundamental aim of this tour across Kant's text is the possibility of evaluating the current importance of the Kantian aesthetics, linking the exegesis of the text with two fundamental elements of the contemporary debate in philosophy of art: definition (or recognition) and valuation. We try to show that the aspects considered by Kant as necessary to support this balance (originality, relation between artists and public across the work, place of the work em the society, pleasure of the aesthetic experience, artistic tradition), still are relevant for the current debate in aesthetics and reflective human action. / Provavelmente o principal problema da relação entre arte e beleza na Crítica da Faculdade de Julgar, de 1790, esteja na necessidade de reconhecer um objeto como obra de arte (através de um conceito de arte) e o juízo de gosto, que, considerado puro, não pode ter conceitos que determinem o objeto. Porém, não parece haver outra experiência além da experiência de beleza para o reconhecimento da obra de arte bela. Assim, faz-se necessário explorar os pontos de convergência entre uma produção orientada a fins e a produção de um objeto belo, considerando, contudo, que o conceito de obra de arte é diferente de qualquer conceito que possa ser colocado como fim de um ato intencional. No percurso do trabalho nos propomos a explorar as relações entre a prática do gênio e o gosto como regulador da produção artística e do reconhecimento e valoração das obras de arte. Consideraremos para isso as possíveis regras do gênio, tentando isolar os aspectos formais e os aspectos de conteúdo do objeto. Neste intento, partiremos da classificação das obras de arte como formas de expressividade, semelhantes à linguagem, visando mostrar as fraquezas de qualquer norma estética clássica no estabelecimento de regras de conexão entre formas e conteúdos. Porém, também avaliaremos a ênfase do próprio Kant em manter conexões identificáveis entre os objetos considerados obras de arte, sobretudo os aspectos formais dos mesmos. A partir da análise anterior estaremos obrigados a avaliar a relação entre arte bela e natureza. O fracasso da arbitrariedade, como forma de estabelecimento do belo artístico enquanto assimilação a uma forma de linguagem nos leva a recuperar a teoria da beleza natural, visando encontrar os pontos de contato entre beleza e experiência estética da arte. Destarte, avaliaremos as conseqüências que temos da teoria kantiana da arte em relação à experiência estética da Analítica do Belo , destacando as dificuldades de que o próprio Kant poderia ter sido consciente ao desenvolver sua filosofia da arte. O alvo fundamental deste percurso através do texto de Kant se encontra na possibilidade de avaliar a atualidade da estética kantiana, vinculando à exegese do texto dois elementos fundamentais do debate contemporâneo em filosofia da arte: definição (ou reconhecimento) e valoração. Pretendemos mostrar que os aspectos considerados por Kant como necessários para manter este equilíbrio (originalidade, relação entre artistas e público a través da obra, lugar da obra na sociedade, prazer da experiência estética, tradição artística), ainda são relevantes para o debate atual no que diz respeito à estética e ao agir humano reflexivo.