Dying is easy; comedy is hard. Comedy is sovereign. I begin with an excerpt from Bertolt Brecht’s Fugitive Conversations. Ziffel, a physicist, is chatting with the worker Kalle: For humor, I always think of the philosopher Hegel.... He had the makings of one of the greatest humorists among the philosophers.... I read his book The Great Logic once, when I had rheumatism and couldn’t move. It’s one of the greatest humorous works of world literature. It treats of the way of (...) life of concepts, those slippery, unstable, irresponsible existences; how they abuse one another and fight with knives and then sit down together to supper as though nothing had happened.... They can live... (shrink)

Throughout his work Hegel distinguishes between the notion of an act from the standpoint of the agent and that of all other standpoints. He terms the formerHandlung and the latterTat. This distinction should not be confused with the contemporary one between action andmerebodily movement. For one, bothHandlungandTatare aspects of conduct that results from the will,viz. Tun. Moreover, Hegel's taxonomy is motivated purely by concerns relating to modes of perception. So whereas theorists such as Donald Davidson assert thatallactions are events that (...) are intentional under some description, Hegel reserves the term ‘action’ for those aspects of behaviour that are highlighted by a specific set of agent-related descriptions. This is not an ontological category, since there are no such objects as actions-under-specific-descriptions.Sophocles'sTheban Trilogyreveals the central role that these notions must play in any Hegelian understanding of tragic drama. Indeed the contrasts that matter most to Hegel's general take on both epic and tragic poetry are more closely related to the study of action than the standard theory attributed to Hegel would seem to allow. It is more fruitful, then, to incorporate Hegel's insights into such tragedies to the model of action employed by him than it is to try to make them fit whatever ‘theory’ of tragedy might appear to be hinted at in hisAesthetics. (shrink)

I argue that given a plausible reading of John Williams’s Stoner (2012 [1965]) the novel throws light on the demands and costs of pursuing a strategy for self-realisation along Platonic lines which seeks unification through the adoption of a single exclusive end in a manner that emulates the Socratic maieutic teacher. The novel does not explicitly argue either for or against such a strategy but rather vividly depicts its difficulties, appeal, and limitations, thus leaving the ultimate evaluation up to the (...) reader. (shrink)

The article discusses the possibilities of the formal analysis of the fine-art painting composition on the basis of the classical definitions of beauty and computational aesthetics’ approaches of the second half of the 20th century he authors define the problem and consider solutions for the formalization of aesthetic perception in the context of aesthetic text, i.e., as part of the fine arts composition – a formal sequence of signs simply ordered in accordance with the syntactic rules’ system. The methodology of (...) the research is defined by the general semiotics, distinguishing semantics, syntax, and pragmatics of a sign, by the aesthetic analysis’ methods, ranging according to the author’s message aesthetics, receptive aesthetics, and text aesthetics, as well as by the computational analysis methods connected with neural network means of defining the images’ symmetry. The article reveals preconditions for the emergence and also the current state of computational aesthetics as an interdisciplinary branch of knowledge. Analyzing the problem from the perspective of philosophy, aesthetics, semiotics, and technology, the authors draw attention to the need to improve the computational aesthetics methods. Firstly, the existing methods do not always enable to describe the fine-art object adequately. Secondly, there exists the so-called reduction of aesthetic assertion transforming it into the assertion concerning the object’s external characteristics. As a result, the authors assume that the increasing complexity of the current mathematical models and the experts’ subjective assessment support will allow to reach a compromise solution that enables the development of computational aesthetics as a branch of knowledge. Enhancement and development of the mathematical models, taking into account the rules of semiotics and subjectivism of the human perception, is the relevant objective of computational analysis of the aesthetic fine-arts text. The results of the present research supports the classic statement regarding the underivability of semantic and pragmatic propositions from syntax. The research concludes that relevant objectives are to find a correlation between, one the one hand, the axes and points of symmetry, deriving from the neural simulation, and, on the other hand, aesthetic effect, emerging from the perception of fine-art paintings. (shrink)