In an effort to produce new and more sustainable technologies, designers have turned to nature in search of inspiration and innovation. Biomimetic design (from the Greek bios, life, mimesis, imitation) is the conscious imitation of biological models to solve today's technical and ecological challenges. Nowadays numerous different approaches exist that take inspiration from nature as a model for design, such as biomimicry, biomimetics, bionics, permaculture, ecological engineering, etc. This variety of practices comes in turn with a wide range of different (...) promises, including sustainability, increased resilience, multi-functionality, and a lower degree of risk. How are we to make sense of this heterogeneous amalgam of existing practices and technologies, and of the numerous promises attached to them? We suggest that a typology of biomimetic approaches would provide a useful hermeneutic framework to understand the different tensions that pull this variegated landscape in different directions. This is achieved through a critical analysis of the literature in different fields of biomimetic design and the philosophy of biomimicry, in order to derive conceptual and normative assumptions concerning the meaning and value of the imitation of nature. These two dimensions are then intersected to derive an analytical grid composed of six different biomimetic types, which enable the classification of existing and possible biomimetic approaches, practices, and technologies according to their specific conceptual assumptions and guiding norms. (shrink)

ABSTRACT In this paper, I will offer some examples of the effectiveness of Adorno’s concept of mimesis for an analysis of extreme violence and for a defence of democratic institutions against possible regressions into authoritarian regimes. I will start by reading the concept of mimesis through the lens of the interlacement between the concepts of play and power. My aim is twofold: first, I wish to further the analysis of Adorno’s concept of mimesis by showing that it can be interpreted (...) as a form of play, which either empowers subjectivity or becomes a means of domination; second, I will use these speculations to highlight the relevance of Horkheimer and Adorno’s explanation of anti-Semitic violence when seen through the lens of the concept mimesis. Before concluding, I will briefly highlight Adorno’s ideas about what makes democracy vulnerable to potential regressions into extreme violence, and examine what can be done practically – from an Adornian perspective – to avoid regression: defending democratic institutions, and working towards a removal of those barriers that obstruct genuine mimetic experience and self-reflection. (shrink)

Pedagogy in general is not only ruled by planning, explicit normative framings, and governmental strategies, but its topics, such as the success or the failure of teaching or learning processes or learners’ precarious or promising personality development, are also decisively influenced by unspoken, silent, corporal, spatial, material, barred, or alienated dimensions of pedagogy. Gender as an analytical category encloses these dimensions, as well as being a social category. In this essay, three sets of arguments, referring to implicit or tacit knowing, (...) to bodiliness and corporeality, and to performativity and mimesis will be used to explain the tacit side of gender as a dimension of pedagogy. (shrink)

Since the beginning of history humans have attempted to represent nature and culture through mimesis. This article focuses on the teleologicalaspects of mimesis and offers a different perspective that transcends the notion of sustainability into an eco-humanistic metamorphosis of culture and nature.Drawing from semiotics, phenomenology and architectural design the article challenges the polarization of mimetic representations of nature and culture,which are inclusive and homomorphic phenomena, and offers insight into the mutual mimesis of nature and culture. Two different empirical observationssubstantiate the (...) theoretical perspective: 1) a tradition advanced by the Egyptians’ stylization of visual representations of the mimicry of nature and culture; and 2) acurrent architectural design activity that integrates the mimesis of nature and culture. The article makes the case for a theoretical approach that integratesmimetic principles in creating a sustainable environment and an authentic ecoliving. The article concludes with ethical implications on the way we perceive themutual resemblances in nature and culture, and on our semiotic understanding of the teleological aspects of mimesis. (shrink)

Summary The movement of repetition is irrevocably linked to the constitution of the human body and is therefore a human condition. The process of hominisation makes this clear. In the body of Homo sapiens and in his movements a connection between nature and culture is created. The movement of repetition is of central importance. Repetition is essential for the evolution of Homo sapiens, the development of communities and individuals. Repetitions are mimetic; they lead to productive imitations in which new elements (...) and events also emerge. Mimetic movements and the repetitive aspects they contain open up the historical and cultural world to people. Repetitions in rituals lead to the acquisition of an implicit silent practical body knowledge. The emotions arising in mimetic processes are movements through which an orientation in the world takes place. The imaginations based on the eccentricity of the human being and on movements of repetition contribute to the development of a collective and individual imaginary. (shrink)

(2003). Perfecting the Individual: Wilhelm von Humboldt's concept of anthropology, Bildung and mimesis. Educational Philosophy and Theory: Vol. 35, No. 2, pp. 241-249.

(2003). Perfecting the Individual: Wilhelm von Humboldt's concept of anthropology, Bildung and mimesis. Educational Philosophy and Theory: Vol. 35, No. 2, pp. 241-249.

Building upon a recent call to renew actor-network theory (ANT) for educational research, this article reconsiders relations between technology and educational theory. Taking cues from actor-network theorists, this discussion considers the technologically-mediated networks in which learning actors are situated, acted upon, and acting, and traces the novel positions of creative capacity and participation that emerging media may enable. Whereas traditional theories of educational technology tend to focus on the harmonization of new technologies with extant curricular goals and educational practices, an (...) educational theory of technology looks to novel forms of technologically-mediated learning experience—from production pedagogies to role play in the virtual—to make visible the surprising relations, techniques, and opportunities that emerging media, and their attendant social contexts, may offer educational research. (shrink)

This article engages the considerations of imagination in Kierkegaard and Ricoeur to argue for a moral dimension of the imagination and its objects. Imaginary objects are taken to be mental representations in images and narratives of people or courses of action that are not real in the sense that they are not actual, or have not yet happened. Three claims are made in the article. First, by drawing on the category of possibility, a conceptual distinction is established between imagination and (...) fantasy, (1) I claim that imagination has a moral dimension because it is engaged in considering real-life possibilities. Second, (2) drawing on Kierkegaard and Ricoeur, it is argued that mental representations of selfhood in imagination have a moral dimension because they essentially allow people to understand the development of agency in human selfhood by means of representations of would-be selves and narrative figurations of the self. Third, (3) mental representations of human selves have a moral dimension because they form important points of reference for moral orientations in the field of human praxis (moral pointers). (shrink)

How can citizens construct the political authority under which they will live? I argue that Thomas Hobbes’s Leviathan (1651) answers this question concerning the constitutive power of political and normative agency by employing four dimensions of mimesis from the Greek and Roman traditions. And I argue that mimesis accounts for the know-how, or power/knowledge, the general ‘man’ draws upon in constructing the commonwealth. Hobbes revalues poetic mimesis through his stylistic decisions, including the invitation to the reader to read ‘himself’ in (...) the portrait of the general man depicted in the text. Hobbes aims for Leviathan to change the ethical dispositions of its readers, turning them from bad to good men as they witness the general man undergoing this ethical transformation in the transition from the state of nature to the civil state. He emphasizes the anthropological dimension of mimesis to explain political disorder since he argues that men assess the honor others attribute them by observing signs and gestures in others’ behavior. Hobbes employs the linguistic dimension of mimesis to describe how men acting as agents can build a normative consensus out of the state of nature. This article positions mimesis as a key term for understanding the intersection between aesthetics and politics before the term ‘aesthetics’ came into parlance. (shrink)

This article will explore a paradoxical dramaturgy. Last year I played Yahweh in a production entitled OT: Chronicles of the Old Testament. It was part of the 2007 Malthouse Theatre season in Melbourne, and directed by Christian Leavesley and Phil Rolfe. To embody Yahweh is to make manifest the divine, make material the ineffable, and yet allow the illusion that all is still spirit. How does one become God, if only for a moment? Well, for at least as long as (...) the play lasts. Given the atheist fundamentalism espoused recently by Dawkins, Onfray and Hitchens, in what spirit is a corporeal critique of the pervasive power of the Old Testament, and in particular it's vengeful, wrathful, forgetful, dancing God the Father, possible? (shrink)

This paper contends, following Plato and Broekman, that seeing images as images is crucial to theorizing medicine and that considering clinical pictures as images of images is a much-needed epistemic complement to the domineering view that sees clinical pictures as mirrors of disease. This does not only offer epistemic, but also ethical benefits to individual patients, especially in those cases where patients suffer from chronic, debilitating, and terminal illnesses and where medicine provides no, or limited, answers in terms of treatment, (...) intervention, and meaning. By creating room for a theory of clinical pictures that rightfully emphasizes its pictorial nature, patients and doctors alike may be encouraged to consider under what authorship, and with which epistemic tools, alternative, supplemental images may be produced to get at the existential reality of disease and suffering. Ultimately, this paper argues that the epistemic tools provided by aesthetics may offer such glimpses into the reality of disease and suffering, and I conclude by discussing a few artistic renditions of breast cancer to illustrate my point. (shrink)

Through the study of Richard Gruneau and Gunter Gebauer’s respective works, this article examines the social significance and theoretical implications of sport’s capacity to represent social life in a theatrical manner. The drama-like images and representations sporting practices produce, institutions codify, and television programs enhance is considered in relation to ideology’s integrative, legitimating, and distorting functions . Acknowledging the filiations of ‘theatre’ with ‘theory’ – both words stand for ‘to contemplate, to see, to observe’ – this study considers theatricality as (...) a valuable theoretical notion that enables a synthetic and reflexive understanding of athletic practices’ bodily dimension, symbolic representations, and institutional determinants. (shrink)

The special issue Doing Memory, Doing Identity: Politics of the Everyday in Contemporary Global Communities draws on anthropological theory, performance studies, feminism, post-colonial studies and other theoretical traditions for an insightful examination of the everyday practices of doing memory. A series of ethnographies and qualitative studies from locations as diverse as Italy, Norway, Greece, France, Brazil and China complement profound theoretical analyses to investigate the multiple links between individual and collective pasts, futures and identities, especially focusing on emotions, embodiment, the (...) senses, difference and power relations. Taking a critical stance in regard to current social-scientific and socio-political debates, this special issue reflects on the political and ethical aspects of day-to-day memory practices and examines issues related to identity, imagination and otherness. (shrink)

In this article I argue that, with the liberation of the hand from the tasks of locomotion in human evolution, unconscious use of the hands begins to create cultural forms. The first feature of the hands is its openness to the world. The second feature is its mediation between things and the body of which it is a part. The third feature is its self-referentiality. By touching, by giving form to a material, by gestures, and by establishing symbolic order in (...) the given world, the actions of the hand develop important preconditions for language, aesthetic forms, and social order. The hand itself assumes the most diverse shapes and gives different shapes to the objects around it. Touching and pointing produce the certainty that the indicated object exists, insofar as it is produced as object-for-the-hand. Its doubling in the use of the hand re-creates the object in a symbolic medium. This mimetic re-creation of the world is the main characteristic of the creativity of hand use. The two-sided plasticity of the hands divides the social universe into right and left halves, classified according to right-handed and left-handed values. The hand’s actual acquisition of this capacity is the result of a social process. In coordination with our visual sense, the use of the hands leads both to the making of objects and to the construction of worlds of subjective feelings. Both achievements are often ascribed to language. But the functions considered as most fundamental to language first take shape in the unconscious use of our hands. (shrink)

The emotion of admiration and the semantic theory of natural kinds and direct reference are foundational for Linda Zagzebski's exemplarist moral theory and divine motivation theory. Many have examined difficulties that arise from the central role of admiration, while others have engaged her account of the incarnation. Little attention has been given to her semantic theory or philosophy of language. This essay demonstrates the difficulties and problems that arise from this theory, problems that could be avoided with a sociopractical account (...) of language and exemplarity. One set of problems pertain to the “principle of the division of linguistic labor.” Related problems come to light in Zagzebski's attempt to account for radical changes in perceptions of exemplars through social, political, and ethical revolutions. In the end, her semantic theory creates the very epistemological uncertainties that it is meant to forestall. It also fails to account for radical disagreements about exemplars and the role moral exemplars play in sociopolitical and ethical revolutions. (shrink)

Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts. (shrink)