This article demonstrates the relevance of Kant to the interpretation of contemporary art. The defining properties of contemporary art are the impossibility of definition in material, formal or stylistic terms, and the central role that concepts play in the interpretation of a work. Danto and Osborne suggest how concepts might be applied but they do not develop their proposals. Kant’s theory of judgement can provide a fuller account on the basis of the notions of purposiveness and play. The way in (...) which these notions explain the application of concepts to the world, I argue, provides a model of how concepts can be combined to form an interpretation of a work of contemporary art. A detailed example is given. (shrink)

Every cultural phenomenon is multifaceted and only with great difficulty can it fit into the framework of one general concept. The term ‘sport’ is such a broad concept, because the great wealth of...

According to Eugen Fink, a thorough elucidation of the meaning of play has the capacity to lead us towards an understanding of the world as a totality. In order to go beyond Plato’s understanding of play as an inferior copy of serious action, Fink provides an analysis of the cultic game. This form of playing cannot be said to be the origin of all play, but it enables us to demonstrate how the act of playing transcends circumscribed beings inside the (...) world and provides a relationship with a higher whole, in which the community participating in the play is encompassed. A masked shaman does not represent a particular god, but brings to presence the action of gods upon humans as such. Thus, the cultic game is a symbol of a more important reality, not an inferior representation of an individual reality. This, however, is still not a sufficiently radical interpretation of the ontological dimension of play: the whole is only understood as an action of gods, i.e. mediately. Fink strives to demonstrate on the cont... (shrink)

Mise en abyme is a term from literary theory denoting a work that doubles itself within itself, for example a story placed within a story or a play within a play. Proliferating in experimental fiction in midcentury France, this technique had a strong impact on contemporary literary theory, but also, as this book project argues, on post-Heideggerian and post-structuralist philosophy. The Little Crystalline Seed focuses on how three of these thinkers invoke the concept of mise en abyme in order to (...) establish ontologies that deviate from that of Heidegger. Iddo Dickmann demonstrates how the concept served in modeling Derrida's logic of supplementarity, Blanchot's philosophy of "ambiguity" and mechanism of Désouvrement, and Deleuze's philosophy of difference, time and repetition. Exploring the interpretative and generative potential of the mise en abyme for continental thought, Dickmann illustrates points of resonance between various philosophical topics such as aesthetics, ethics, time, logic, mirroring, play, and signification. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its instruments differ from nomadic weapons and sedentary (...) tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...

What if individual psychology took another path than the one guided by the idea of the “Sturm und Drang” of adolescence? What if this path less-traveled led to community-oriented rites of passage that satisfied youth's deep craving for the ancestral wisdom of the Universe … and simultaneously affirmed that parents, too, would continue to grow and contribute as they transited mid-life? This article brings the reader down the path less-traveled to explore navigational aids for future travelers and provides an example (...) of the explosion of community engagement and creativity that can occur when the transitions of adolescence and mid-life, traditionally viewed as crises, become opportunities and assets for fostering individual health and community resiliency, adaptation, and well-being through community-oriented rites of passage. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its instruments differ from nomadic weapons and sedentary (...) tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...

Arguing against the dominant developmental theories (e.g., Piaget, 1945; Vygotsky, 1978) stating that pretend play is limited to early childhood, we illustrate that pretend play is an adaptive human activity of adulthood as well as childhood. We advance this argument on three levels. First, we offer an analysis of why the discipline of developmental psychology in the Western world considered play only as an activity of childhood by neglecting to explore whether or how pretend play exists during adulthood. Second, we (...) discuss the similarities between adult improvisational theater and children’s pretend play in illustrating our thesis that pretend continues to exist during adulthood. In this discussion, we focus on similarities in the definitions, psychological origins, social functions, and developmental consequences of pretend play and adult improvisation. Finally, we end the article with educational implications of conceptualizing pretend play as a life-span activity and offer directions for future research. (shrink)

En este artículo se analiza el concepto de imperativo metanoético que Peter Sloterdijk presenta en ¡Has de cambiar tu vida! Nuestro objetivo es iluminar la naturaleza de lo que, en trabajos anteriores, hemos denominado -a raíz de la obra de Bernard Suits-: razón lúdica. Para ello, primero, expondremos y analizaremos el sentido del imperativo metanoético en Sloterdijk, así como los elementos principales de su razón ascética. Segundo, mostraremos cómo ambos son consecuencia del análisis ontológico de corte heideggeriano en la que (...) Sloterdijk basa su propuesta de filosofía moral. Tercero, presentaremos en términos sloterdijkianos tanto el análisis ontológico de Suits, como el posible imperativo metanoético que se desprendería de su razón lúdica. Por último, centrándonos en el papel que Sloterdijk otorga a la figura del «ocioso», mostraremos las posibles conexiones entre Suits y Sloterdijk. Mostraremos la relación que existe entre los imperativos lúdicos y ascéticos donde, además, el acto «jugar» recibe un papel central en la «respuesta a la pregunta por el ser». In this article, we analyze Peter Sloterdijk’s concept of “metanoethical imperative” in You Must Change Your Life. Our goal is to shed light on what, by drawing on Bernard Suits, we call “ludic reason.” To do so, we will present and examine in depth the meaning of Sloterdijk’s metanoethical imperative, as well as the main features of his concept of “askesis.” Second, we will argue that both concepts are the result of the Heideggerian ontological principles underlying Sloterdijk’s moral philosophy. Third, we will provide a “Sloterdijkean” interpretation of Suits’ account of games by focusing on the metanoethical imperative that could be derived from the notion of the ludic reason. To conclude, we will focus on the role that the figure of the “Good-for-Nothing” plays in Sloterdijk’s account, showing connections between Suits’ and Sloterdijk’s approaches. We will argue that, in the philosophical approaches of both philosophers, the idea of game playing is closely tied to the “question on Being.”. (shrink)