Martin Lang – författare

This volume draws on a unique dataset to answer pressing questions about human religiosity. Building upon the first volume in this series, it presents results from the second phase of the Evolution of Religion and Morality (ERM) project.The second volume investigates key questions in the evolutionary and cognitive sciences of religion and highlights cultural variability and context specificity of diverse religious systems. Chapters draw on a dataset comprising 2,228 participants from 15 ethnographically diverse societies that stretch from Africa and India through Oceania to South America, and include hunter-gatherers, pastoralists, horticulturalists, subsistence farmers and wage laborers. Four chapters using the full dataset answer the following questions:What are the general predictors of commitment to supernatural agents?Is there a gender gap in religiosity?Does belief in punitive gods facilitates cooperation?Are supernatural agents implicitly associated with moral concerns?Chapters from individual field sites further explore the distinction between moralizing and local gods, the potentially disruptive role of belief in local gods on cooperation with anonymous co-religionists, and the relationship between belief in moralizing gods, cooperation, and differential access to material resources. Above these empirical studies, the book also includes an informed discussion with specialists on the challenges of running such a large cross-cultural project and gives concrete recommendations for future projects.The Evolution of Religion and Morality: Volume II will be a key resource for scholars and researchers of religious studies, human evolutionary biology, psychology, anthropology, the cultural evolution of religion and the sociology of religion. This book was originally published as a special issue of Religion, Brain & Behavior.

This volume draws on a unique dataset to answer pressing questions about human religiosity. Building upon the first volume in this series, it presents results from the second phase of the Evolution of Religion and Morality (ERM) project.The second volume investigates key questions in the evolutionary and cognitive sciences of religion and highlights cultural variability and context specificity of diverse religious systems. Chapters draw on a dataset comprising 2,228 participants from 15 ethnographically diverse societies that stretch from Africa and India through Oceania to South America, and include hunter-gatherers, pastoralists, horticulturalists, subsistence farmers and wage laborers. Four chapters using the full dataset answer the following questions:What are the general predictors of commitment to supernatural agents?Is there a gender gap in religiosity?Does belief in punitive gods facilitates cooperation?Are supernatural agents implicitly associated with moral concerns?Chapters from individual field sites further explore the distinction between moralizing and local gods, the potentially disruptive role of belief in local gods on cooperation with anonymous co-religionists, and the relationship between belief in moralizing gods, cooperation, and differential access to material resources. Above these empirical studies, the book also includes an informed discussion with specialists on the challenges of running such a large cross-cultural project and gives concrete recommendations for future projects.The Evolution of Religion and Morality: Volume II will be a key resource for scholars and researchers of religious studies, human evolutionary biology, psychology, anthropology, the cultural evolution of religion and the sociology of religion. This book was originally published as a special issue of Religion, Brain & Behavior.

In 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the different ways they can be classified as militant. Many artists and collectives, including Grupo Etcétera in Buenos Aries, are prepared to break the law and risk arrest for their art. Others like Thomas Bresolin’s Militant Training Camp utilise military uniforms in violent performances that connect with public anger, and artists such as Zthoven in the Czech Republic occupy, hack, antagonise and disrupt in increasingly militant ways. Combining these examples with the pioneering thought of Badiou, Žižek, Rancière and Mouffe, as well as up-to-date scholarship from Bishop, Léger and others, Lang investigates the instances, attributes and rules of militant art in order to introduce a new overall theory of 21st-century militant aesthetics.

In 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the different ways they can be classified as militant. Many artists and collectives, including Grupo Etcétera in Buenos Aries, are prepared to break the law and risk arrest for their art. Others like Thomas Bresolin''s Militant Training Camp utilise military uniforms in violent performances that connect with public anger, and artists such as Zthoven in the Czech Republic occupy, hack, antagonise and disrupt in increasingly militant ways. Combining these examples with the pioneering thought of Badiou, Žižek, Rancière and Mouffe, as well as up-to-date scholarship from Bishop, Léger and others, Lang investigates the instances, attributes and rules of militant art in order to introduce a new overall theory of 21st-century militant aesthetics.

In 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the different ways they can be classified as militant. Many artists and collectives, including Grupo Etcétera in Buenos Aries, are prepared to break the law and risk arrest for their art. Others like Thomas Bresolin''s Militant Training Camp utilise military uniforms in violent performances that connect with public anger, and artists such as Zthoven in the Czech Republic occupy, hack, antagonise and disrupt in increasingly militant ways. Combining these examples with the pioneering thought of Badiou, Žižek, Rancière and Mouffe, as well as up-to-date scholarship from Bishop, Léger and others, Lang investigates the instances, attributes and rules of militant art in order to introduce a new overall theory of 21st-century militant aesthetics.

In 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the different ways they can be classified as militant. Many artists and collectives, including Grupo Etcétera in Buenos Aries, are prepared to break the law and risk arrest for their art. Others like Thomas Bresolin’s Militant Training Camp utilise military uniforms in violent performances that connect with public anger, and artists such as Zthoven in the Czech Republic occupy, hack, antagonise and disrupt in increasingly militant ways. Combining these examples with the pioneering thought of Badiou, Žižek, Rancière and Mouffe, as well as up-to-date scholarship from Bishop, Léger and others, Lang investigates the instances, attributes and rules of militant art in order to introduce a new overall theory of 21st-century militant aesthetics.

Embark on a journey that transcends the boundaries of art and technology in the groundbreaking realm of Creative Convergence: The AI Renaissance in Art and Design. This isn't just another book on art and technology- it's a journey that sparks curiosity, fuels innovation, and challenges traditional artistic boundaries. Discover the power of generative Artificial Intelligence (AI) as it melds with human expression, propelling artistry into uncharted territories and redefining traditional notions of both originality and creativity. The text is not just about art or AI; it is about the fusion of both, catalyzing a creative revolution that challenges previous assumptions about human-machine collaboration and how ideation, conceptualization, process and execution are radically rethought. Have you ever wondered how/will AI revolutionize training, education and execution in art and design? Delve into this captivating treatment that contextualizes the disruptions we are experiencing today in the technological innovations and artistic responses and integrations of the past five hundred years. Human creativity has always struggled against technological advance, but ultimately integrated and redefined what "art" is in each era. As such, you will see how AI can be incorporated in various artistic disciplines in this study. Explore real-world case studies that showcase AI's practical impact on 3D design, drawing, digital art, and even web design.  The book also addresses the controversial question: Can AI be a co-creator in the creative and artistic process, even assisting in creating an original, signature style? Brace yourself for revelations that will challenge your perceptions of traditional artistry.

Embark on a journey that transcends the boundaries of art and technology in the groundbreaking realm of Creative Convergence: The AI Renaissance in Art and Design. This isn't just another book on art and technology- it's a journey that sparks curiosity, fuels innovation, and challenges traditional artistic boundaries. Discover the power of generative Artificial Intelligence (AI) as it melds with human expression, propelling artistry into uncharted territories and redefining traditional notions of both originality and creativity. The text is not just about art or AI; it is about the fusion of both, catalyzing a creative revolution that challenges previous assumptions about human-machine collaboration and how ideation, conceptualization, process and execution are radically rethought. Have you ever wondered how/will AI revolutionize training, education and execution in art and design? Delve into this captivating treatment that contextualizes the disruptions we are experiencing today in the technological innovations and artistic responses and integrations of the past five hundred years. Human creativity has always struggled against technological advance, but ultimately integrated and redefined what "art" is in each era. As such, you will see how AI can be incorporated in various artistic disciplines in this study. Explore real-world case studies that showcase AI's practical impact on 3D design, drawing, digital art, and even web design.  The book also addresses the controversial question: Can AI be a co-creator in the creative and artistic process, even assisting in creating an original, signature style? Brace yourself for revelations that will challenge your perceptions of traditional artistry.

Die Auseinandersetzung mit den Möglichkeiten des selbstgesteuerten Lernens rückte in den letzten Jahren immer weiter in den Fokus der Forschung. Der Grund für das wachsende Interesse liegt – gerade auf Seiten der pädagogischen Praxis – an der Bedeutung des selbstgesteuerten Lernens im Kontext des lebenslangen Lernens.Die lerntheoretische Sicht verweist zudem auf die unterschiedlichen Lernvoraussetzungen, -fähigkeiten und -stile, die die Lernenden mitbringen: Hier ermöglicht der Erwerb von Selbstlernkompetenz, dem jeweiligen Typus gemäße Strategien und Arbeitstechniken zu entwickeln und so heterogenen Bedürfnissen Rechnung zu tragen.Der vorliegende Band erläutert die theoretischen Grundlagen selbstgesteuerten Lernens aus internationaler Perspektive und stellt didaktische Anwendungen in der Berufsbildungspraxis dar. Darüber hinaus thematisieren die Beiträge auch diagnostische Aspekte zur Erfassung und Bewertung von Selbstlernkompetenz.InhaltTheoriebezogene Grundlagen:Martin Lang / Günter Pätzold: Selbstgesteuertes Lernen – theoretische Perspektiven und didaktische ZugängeBarry J. Zimmermann: Integrating Classical Theories of Self-Regulated Learning: A Cyclical Phase Approach to Vocational EducationMonique Boekaerts / Jeroen S. Rozendaal: Self-regulation in Dutch Secondary Vocational Education: Need for a More Systematic Approach to the Assessment of Self-regulationDidaktische Anwendungen:Birgitta Kopp / Heinz Mandl: Selbstgesteuert kooperativ lernen mit neuen MedienDetlef Sembill / Jürgen Seifried: Selbstorganisiertes Lernen als didaktische Lehr-Lern-Konzeption zur Verknüpfung von selbstgesteuertem und kooperativem LernenBrigitte Geldermann / Eckart Severing / Thomas Stahl: Perspektiven des selbst gesteuerten Lernens in der betrieblichen BildungCharlotte Nüesch: Nachhaltige Verankerung der Lernkompetenzförderung – Gestaltungsempfehlungen für die SchulleitungJudith Schellenbach-Zell / Cornelia Gräsel: Selbststeuerung und Interesse in kontextorientiertem Unterricht: Befunde aus dem Projekt "Chemie im Kontext"Diagnostische Aspekte:Christoph Metzger: Lernstrategien funktionsgerecht evaluieren ? eine didaktische und forschungsmethodische HerausforderungRolf Arnold / Claudia Gómez Tutor: Möglichkeiten der Einschätzung von SelbstlernkompetenzAutorenverzeichnis