This paper articulates the similarities and differences between Adorno's and Dewey's aesthetics, showing the way in which these theories juxtapose real art against other forms of cultural expression which, in their duplication and strengthening of existing modes of culture, may be seen as progressively closing off the possibilities for the realization of true democracy or (what may be the same thing) the end of alienation. The paper distinguishes between art and propaganda and argues that, despite obvious differences between their philosophies (...) taken as a whole, they are not so far apart in their aesthetic judgments of what the art object is and what effect it has or may have on individuals and society. (shrink)

This paper reports on an analysis of the work of Leni Riefenstahl, and German expressionism, through the use of trans-disciplinary semantic associative search in specialized databased dictionaries1. Within this database space (Kitagawa and Kiyokim 1993), the quantitative data of objects as representation can be visualized by number. While the method of image analysis is qualitative, it is based on a quantitative analysis of visual representation. Through this analysis, Riefenstahl's film Olympia Fest der Vlker is compared with the Nazi ideology of (...) the body image. The film is often categorized as romantic; however, this paper proposes a new interpretation based on theories of Jonathan Crary, and Martin Jay, which are combined using the mechanism of connotation in searching database systems. We proposs that, in the context of Visual Culture Studies, the use of digital technologies may provide new possibilities for research in the humanities. (shrink)

When it comes to questions about alternative visions for philosophical engagement, Heidegger’s work makes for an interesting case study, especially if we focus on his texts from the turbulent 1930s. As a shortcut into this contested territory, it is instructive to examine Heidegger’s anti-journalistic gestures, centered on the question whether this animosity is bound to drive a wedge between, or rather prompt a re-approximation of, philosophy and public scholarship. To render this programmatic concern more specific, the present essay aims to (...) reassess Heidegger’s profile by considering his account of language as the “most dangerous of goods” bestowed on humans. This theme can serve as an expedient starting point for scrutinizing philosophers’ self-understanding as daring explorers in pursuit of profound insights into the human condition, and their ability to balance excitement and sobriety. (shrink)

Textbooks and manuals on management suggest that managers are heroes who deal with difficult problems of collective adaptation and change. American films are similarly built on the premise of a hero confronted with extremely difficult situations. What if this hero figure promoted for so long in both management literature and the American film industry was the same at the structural level? This paper will attempt to clearly define the ethical performance of heroes that is perhaps shared by the imagination industry (...) and the workplace on the long run. We shall follow this picture of a hero-leader in the ethics of business and cinema through a large corpus of movies and writings on management and provide a set of six features for examining both, a common heroic structure we shall call the Hero-Leader Matrix. (shrink)

The core of the study is a critical comparison of Nietzsche’s notion of Übermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this (...) way, the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea of Mitfreude (‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow for Bejahung (‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art. (shrink)

Human groups, such as families, tribes, and nations, are often perceived as possessing mental qualities and characteristics more or less common to the group as a whole. This ancient tendency to attribute properties of personality or individuality to human aggregates is particularly strong nowadays with regard to nations, the basic units of political action in this age of nationalism and internationalism.In the recent UNESCO study by W. Buchanan and H. Cantril, How Nations See Each Other (1953), based on an eight-nation (...) sample, few findings are more revealing than the low frequency of respondents who declare themselves unable to characterize their own nation. All but a very small proportion gave their views freely when asked to describe the character of their countrymen. When this same question was asked with regard to a series of other nationalities, the “Don't know” responses (“impossible to characterize”) were in some cases much more frequent—up to 71 per cent as in the case of the German sample in regard to the Chinese; in others again very low—down to 3 per cent as in the western European responses regarding the United States. These variations are assumed to reflect differences in the degree of familiarity of nations with each other, depending on their mutual relationships over time, their physical proximity or distance, and so on. (shrink)

Sin tantear recorridos lineales, la mayor parte de los siguientes renglones, entresacados de aquellos parajes por los que merodearían los lectores de Emmanuel Lévinas más propensos a las responsabilidades del sueño lúcido, modifican unas páginas de Teleón, obra no del todo en marcha entregada a las excursiones que la escritura de León de Greiff estimula a través de regiones y climas no siempre incluidos en los informes de la crítica literaria o en los plegables temáticos de los debates ideológicos. A (...) distinción de los textos del lituano y demás autores mencionados, ningún dispositivo referencial acompaña las citas inherentes a las composiciones del antioqueño, no propiamente con la intención de dar a entender que su procedencia debería resultar descontada a las generaciones sumidas en todos los hechos y en los hechos del Todo que, a juicio de algún televidente muy dueño y señor de su cabeza, refutarían las exigencias éticas de Lévinas, si acaso con el propósito de sugerir la urgencia de subvertir los criterios de vigilancia universitaria acogiendo el asomo del otro, ningún duplicado, ningún paredros gnóstico, sino el otro expirante e inspirante, el poeta en persona, quien por ventura los devolvería al sarcófago vacío de la “momia fiambre” que nunca quiso llegar a ser. (shrink)