Das Leben hat sich auf unserem Planeten zu einer unermesslichen Fülle von Formen ausdifferenziert, die in komplexen Weisen interagieren. Durch die Zerstörung unserer natürlichen Umwelt bedrohen wir das Wunder der globalen Biodiversität in seinem Fortbestand. Dabei verdrängen wir, dass auch die Menschheit weiter von der Produktivität jener Ökosysteme abhängig bleibt, zu denen sich das Leben evolutionär organisiert hat. Doch wie lässt sich überzeugend für den Erhalt von Biodiversität argumentieren? Sind Arten und Ökosysteme nur als Voraussetzungen gelingenden menschlichen Lebens schützenswert? Oder (...) haben sie darüber hinaus einen von uns unabhängigen Eigenwert? Andreas Hetzel gibt philosophisch fundierte Antworten auf diese Fragen und diskutiert konkrete Möglichkeiten des Biodiversitätsschutzes. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do (...) these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

A stationary eddy that constantly re-forms in the riverbed of the evolution of Western normative institutions, Legal Critique dates back, beyond modernity, to the beginning of the so-called Common Era. But critique also shapes the historical review of earlier phases of this evolution, and this not only as a method of the examination of sources, but also as a transferential displacement that tends to project into history the divides and aporias which define a present political situation. Unsurprisingly, this proceeding betrays (...) more about current conceptions than it reveals about those of the past. The fate of the philosophical topic of immanence and transcendence and that of the proto-modern politics inaugurated by the distinction of God’s absolute versus ordered power offer a significant case in point. Certain critical orientations find in the long and complex history of these divides merely their own anticipated echo. Yet, the split between the adepts of an Aristotelian universe rooted in the being of the good and the followers of Spinoza, accustomed to absolute power and immanent causality, resists such simplifications and warrants a new examination. (shrink)

Democracy needs a radical rethinking. This paper makes some proposals for a new way of conceiving a democratic world. At first, it is necessary to send back citizens to their own living, thus sexuate, being. This will allow them to be responsible for their own life, that of other living beings, and to care about the climatic and sociocultural environment needed for their development. Because of their reduction to neuter, in fact nonexisting individuals, citizens do not behave as real persons (...) but as cogs in a global mechanism of which they maintain the running towards a gradual robotization of the world. To escape such a destiny, citizens, as long as they remain alive, can resort to their desire without contenting themselves with the satisfaction of needs. Desire longs for the beyond; thus, it compels to transcend oneself and is a driving force of development. Desire also brings people to each other and is the most important agent in the formation of a democratic community. It must take over from the natural sap at the individual and collective levels. In order that desire could act in this way, the current political language, in general too abstract and technical, must be modified, as well as the singularity of the individual and the relationship in difference, beginning with natural difference, must be preserved from the more abstract commitments of a national end even larger community. (shrink)

Scholarship on the politics of new media widely assumes that communication functions as a sufficient conceptual paradigm for critically assessing new media politics. This article argues that communication-centric analyses fail to engage the politics of information itself, limiting information only to its consequences for communication, and neglecting information as it reaches into our selves, lives, and actions beyond the confines of communication. Furthering recent new media historiography on the “information theory” of Shannon and Wiener, the article reveals both the primacy (...) of communication in midcentury information theory, and also a striking resonance between these postwar communication theories and Habermas’s more recent communicative theory of democracy. To achieve a critical perspective beyond communication, the article proposes a media genealogy of the politics of subjects as a methodology for developing an analysis of how information formats us as subjects of data. (shrink)

This article proposes to approach issues around the self and its derivate concepts such as motivation through a methodology of rearticulation. For this, we build on the idea developed in the Vygotskian tradition of the self as mediated by cultural artifacts in activity, viewed as a transformative social process that reconfigures sense and meaning. We aim at suggesting these potentials by rearticulating activities in which people display their motives. Most contemporary ‘motivational technologies’ stage a pragmatic self-calculation. For some, these technologies (...) confirm a common-sense, managerial self; others read them as a ‘poetics of practice’ that performs and produces new motives and selves in a liminal space of discursive creativity. These two readings are superseded as we – with art theory from Vygotsky through Brecht to Groys, Bourriaud and Rancière – consider drug counsellors’ experiments with aesthetic practices of self-display in which sense is reconfigured as dis-sensus, as meaning deferred. Aesthetics provide a lense through which we can appreciate how an artifact-mediation can be also a struggle for recognition that reconstitutes emerging selves, senses, and motives. (shrink)

This paper proposes a new approach to the performance of Schumann’s music, in particular to his song cycle Dichterliebe op. 48. Starting from the many productive instabilities and inconsistencies that characterize the compositional approach in Dichterliebe, I ask under which conditions we could think a performance practice that embraces these inconsistencies instead of stabilizing them into a finished performance. To do so, I propose the appropriation from music performance of the philosophical notion of “the problem” as formulated by Gilles Deleuze, (...) connecting it with the “pre-individual” in Gilbert Simondon and the notion of “outside,” mostly in the acceptation of Maurice Blanchot and Michel Foucault. A critique is enacted of what I suggest calling the traditional “image of musical thought.” From this critique can emerge a performance practice that moves away from the “problem of performance,” regarded in its traditional form as a representative practice oriented towards recognition, and that embraces instead the “performance of the problem,” where the problematic dimension of Schumann is enhanced and further dynamized. (shrink)