In the Phenomenology of Spirit, chapter IV, Hegel attempts to show how consciousness becomes self-consciousness. Self-consciousness manifests itself both as the ground on which it makes its object opposite to itself, and as a higher truth by demolishing the otherness of its object in order to preserve it for self-consciousness. Since it presupposes itself as the inner truth (or ground) it realizes itself both as the origin and the aim of desire. In other words, by virtue of presupposing its identity (...) in its dissolution, self-consciousness desires to re-constitute the unity with itself. Therefore, it grasps everything else as a negative object of desire in advance. That is to say, its appearance seems to be an ‘obstacle’ before its satisfaction. However, through experience of negating, self-consciousness learns that its object is also a ‘means’ (i.e., has truth or positive aspect) for its end point. It realizes this latter aspect of its object especially when it is faced with another self-consciousness. At this level, self-consciousness comes to see that there is a counter-balance of opposing powers between itself and the other self-consciousness. This counter-balance leads both self-consciousness to a mutual recognition and, then satisfaction of mutual desires. Therefore, since both the origin and the aim of desire is self-consciousness itself, it (self-consciousness) grasps itself as the positive (real) object of desire and then discerns in the mutual recognition the positive aspect of another which was taken as a negative element before. The satisfaction of desire begins with realizing this positive aspect of another self-consciousness. (shrink)

After the publication of Wahrheit und Methode in 1960, Hans-Georg Gadamer, a celebrated student of Martin Heidegger, received rapidly a worldwide response for his intellectual genius by fusing different philosophical horizons into a coherent and rational perspective which he calls ‘philosophical hermeneutics.’ In his attempt to construct philosophical hermeneutics, Gadamer criticizes historicism, romantic hermeneutics and modern subjectivism since they disregard ontological structure of historical understanding. By claiming that prejudgment (or fore-understanding) is the basis for a genuine understanding, he contends that (...) we can overcome false prejudgment only by having recourse to the subject matter of the texts and by understanding texts on the model of dialogue which happens between the partners questioning themselves on the basis of a subject (sache). For him, understanding oneself and others happens as an event of dialogue simply because understanding takes place within the world of language. Language gets concretized and temporalized by the give and take of words. In other words, language is not a mere system of signs, but rather is uncoveredness of beings and the way within which human Dasein realizes himself. Since historical tradition which supports every event of understanding discloses itself only within language and language is a matter of sharing and participating, understanding is historical and temporal. Here the words “historicity” and “temporality” do not refer merely to “being in the history and time.” This is to approach the event of understanding from chronological and universal notion of time. Historicity and temporality are basically the distinctiveness of disclosedness of beings. Philosophical thoughts, scientific theses, trends which effect the course of history constitute the historicity of understanding by creating a sort of discontinuity in the continuity of history. Hence historicity is the basis for the formation of fore understanding and prejudgment. Philosophical hermeneutics tries to show how the continuity of history and traditions occurs through discontinuity (historicity) of understanding. (shrink)

Globalization process through which our individual and societal relations turn out to be parts of world-wide network of power relations has transformed the meaning of the notion ‘dialogue’ dramatically. For discerning better this dramatic transformation, we should focus on the historical meanings of the notion ‘dialogue’. In ancient philosophical texts, such as Plato’s works, dialogue appears to have two different dimensions: 1) conversation of human soul with itself; 2) conversation between human beings toward a common purpose. In each case, this (...) notion refers basically to incompleteness and shortcomings of human knowledge and intellect regarding universal truth. Upon this basis, it signifies that ‘having a purposeful conversation with others’ is being on the way toward universal truth. (shrink)

Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure so that it is difficult to define clearly. We are capable of immediate appreciation, such as being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes a blurred one, like a haze. It is sensed in bodily presence by human beings. The boundaries, such as subject and object, are transgressed through the atmosphere. The subject appears (...) as a body and its movement in this discussion. Recognition of the existence of the body in space plays a significant role throughout the architectural design process. Theatrical dance or dance theatre (Tanztheater) practices provide new horizons for understanding the presence of the body in the space. Pina Bausch, as a choreographer, is one of the pioneers of this genre. The aim of the study is to point out the relations of body, space and atmosphere in Pina movie (2011). This study identifies choreographies with different aspects as follows: (1) In the atmospheric aspect; subject, object and their role in the atmosphere of choreographies by Pina Bausch were observed. (2) In the fictional space aspect; various spaces were examined in the sense of body-object-atmosphere interaction. (3) In the bodily aspect; space which is produced by the body and vice versa in dance theatre was investigated in the volumetric reflections of the body. This research contributes to bridging performative arts and architecture as understanding the space. It can be a guide for an architectural design studio to understand the role of the body through dance theatre. (shrink)