[Open access] In this book symposium the author takes up questions from phenomenology, hermeneutics, ethical theory, and intellectual history raised by a group of scholarly interlocutors from a range of backgrounds. In the course of engaging with these issues, he discusses, inter alia, McDowell’s realism, Jonathon Lear’s work on the end of a world, Michael Oakeshott’s view of selfhood, Heidegger’s conception of Jemeinigkeit, Uexküll’s notion of Umwelt, and Gadamer’s hermeneutic conception of truth.

semantic minimalism and moderte contextualism.

In his 2013 book Kiku hito (English translation Homo audiens, 2022), composer and musicologist Jo Kondo (近藤譲) outlines his interpretation of music as the interrelationship between notes, each of which ‘has its own entity and life’ and yet is only meaningful in relationship with other notes, an assertion which echoes 15th-century nō (能) composers Zeami’s (世阿弥) and Zenchiku’s (禅竹) writings on the life and death of each note in a nō performance. Though in his own writing Kondo restricts himself to (...) the tradition of western aesthetics, in a 2023 interview he acknowledges that his system of musical interpretation is rooted in the Kegon (華厳) Buddhist concept of Indra’s Net (which illustrates the idea of ultimate reality as the ‘unimpeded interpenetration of phenomena and phenomena’ jiji muge hokkai 事事無礙法界). In this experimental paper, I will explore the aesthetic implications of this idea: is a listener’s interpretation of the relationships between sounds in a musical work (‘work’ defined as broadly as possible, inclusive of all forms of deep, active listening, from contemporary sound art to nō to Dōgen (道元) hearing a sūtra in the voices of monkeys) merely a metaphor for the ‘unimpeded interpenetration of phenomena and phenomena’, or is it an example of it? What are the implications for the interpretation of all types of music and sound art if sounds – like other nonsentient (hijō 非情) phenomena such as water and mountains – have Buddha-nature (busshō 仏性)? And does this interpretative frame have ethical implications for interpreters – listeners, composers, and performers – of music and sound-art in this age of imminent environmental collapse?. (shrink)

This article explores the profound influence of Zen Buddhism on the formation of Japanese aesthetics, focusing on key concepts such as simplicity (kanso), naturalness (shibumi), and impermanence (mujo). Zen realism, characterized by the acceptance of reality without subjective embellishments, is examined as a foundational principle that shaped not only Japanese cultural identity but also a universal aesthetic language. The study highlights the philosophical tenets of Zen, including the principles of «non-duality» (fuju) and «direct intuition» (jikan), which guide the perception of (...) reality as it is and foster a unique artistic and cultural worldview.Relevance: In the context of globalization and cultural exchange, the Zen-inspired Japanese approach to aesthetics offers valuable insights into contemporary issues of sustainability, mindfulness, and design thinking. The enduring appeal of Japanese minimalism in modern art, architecture, and design underscores the universality and adaptability of Zen principles, making this topic highly pertinent for cross-cultural studies and global artistic dialogues.Objective: The purpose of this study is to investigate how Zen Buddhist values influenced the development of Japanese aesthetics and contributed to creating a universal artistic and philosophical framework.Tasks: To achieve this objective, the article:- Analyzes the philosophical underpinnings of Zen realism in shaping the perception of reality.- Explores the aesthetic principles of simplicity (kanso), naturalness (shibumi), and impermanence (mujo) in traditional and modern Japanese art.- Examines the impact of Zen-inspired aesthetics on contemporary global design and architecture.The study demonstrates that the pursuit of simplicity, rooted in Zen practice, transcends cultural boundaries and has become a universal language in the realms of art and design. Examples include Tadao Ando’s architecture, which embodies harmony between light, space, and void, and the minimalist design philosophy of brands like Muji, which resonates globally. The analysis also underlines the role of Zen aesthetics in fostering ecological awareness and a deeper connection to the present moment, aligning with contemporary global challenges.The article concludes by emphasizing the potential of Zen-inspired aesthetics to serve as a universal cultural category, capable of bridging diverse traditions and promoting cross-cultural dialogue. Future research directions include examining Zen principles as a framework for addressing ecological, social, and philosophical issues in an increasingly interconnected world. (shrink)