Gerhard Seel

In his precritical period Kant developed a demonstration of the existence of God that he believed to be the only possible one. Whether this argument is valid is a much-disputed question. To give an answer to this question I will reconstruct Kant’s argument with the means of modern logic and semantics and show which are—in my view—it’s weak points. To achieve this, I will use a combination of the formalism of predicate-, propositional and modal logic without, thought, introducing such a combined logic.

Ever since Aristotle's famous argument about the sea-battle tomorrow, there has been intensive and controversial discussion among philosophers whether the truth of statements about the future leads to determinism. Ther e is controversy about Aristotle's own solution to the problem, as well as the views of classical and medieval commentators on Aristotle. Seel's book attempts to answer this question for the Neoplatonist Ammonius (5th-6th century AD). In so doing, he also opens up new insights into Neoplatonic thought.

As an introduction to the plenary session “Metaphysics and Aesthetics” in my article I try to describe the state of philosophy of art today and give an outlook to its future development. In the last century analytical philosophy of art has been occupied with the following four questions: What is the essence of art? What is the ontological status of works of art? What are aesthetic qualities and how do we come to know them? Have aesthetic value judgments objective validity? In the first step I explain why analytical philosophy of art failed to answer these questions and what this failure has to do with the end of art. In the second step I attempt to give a definition of art myself which allows to show that this failure and the end of art were inevitable. Finally I try—as a consequence—to define the general features of the art of the future.