Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

En el presente artículo me propongo, en primer lugar, exponer los aspectos que determinan una polaridad y un contraste entre lo bello y lo sublime a lo largo del siglo XVIII. En segundo lugar, mostrar que esa tensión constante no implicó una oclusión, contradicción, o superación de una estética respecto de otra. Por último, intentaré dar cuenta de los alcances éticos que fue adquiriendo lo sublime, lo cual permite pensar esta noción como un sentimiento espiritual-moral de reunificación y elevación que (...) trasciende las fronteras del gusto y lo meramente bello. In this paper, firstly, I propose to show the aspects that determine a polarity and a contrast between the beautiful and the sublime throughout the 18th century. Secondly, I will maintain that this constant tension did not mean an occlusion, contradiction, or overcoming of an aesthetic on the other. Finally, I will try to account of the ethical scope was acquiring the sublime, which suggests this notion as a spiritual-moral feeling of reunification and elevation beyond the boundaries of taste and the merely beautiful. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

The poetic … would be that which you desire to learn, but from and of the other, thanks to the other and under dictation, by heart. Derrida, “Che cos’è la Poesia?” 227 I dare not pretend to be any...

Edmund Burke’s speeches and writings during the trial of Warren Hastings—from 1788 to 1795—remain one of the most comprehensive assessments of the effects of colonial trade and territorial expansion on Britain’s nationalist self. A rhetorical reading of his prosecution speeches reveals how they affected the public response to the trial by evoking the sublime and framing terror as the basic feature of Britain’s mercantile imperialist agenda in the colonies. Moreover, by associating Hastings’s governance of Bengal with sublime terror, Burke altered (...) the interpretations of virtue and corruption, thus distancing both Britain and India from the rampant profiteering of the East India Company. Burke’s critique of the degenerative influences of commercial imperialism along with the reformulation of his ideas in subsequent colonial historiography is crucial for assessing how the aesthetics of the sublime conferred greater moral force to the sporadic and fragmented reports about the Company’s abuses of power in India. (shrink)

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

This thesis explores how we might think the relation between psychoanalysis and the cultural field through Donald Winnicott’s concept of the environment, seeking to bring the concept into dialogue with more “classical” strands of psychoanalytic theorizing. A substantial introduction sets out the rationale behind the thesis by reading Freud and Winnicott in relation to the “classic” and the “romantic”, or the “negative” and “positive”, in psychoanalytic thought. It goes on to outline the value of bringing these tendencies together in order (...) to think the relationship between psychoanalysis, culture and change. The chapters which follow move from psychoanalysis as a “cultural cure” – a method and discourse drawing on and feeding into a broad conception of cultural life – towards a notion of “culture as cure” informed by Winnicott’s theory of the environment. Chapter one examines Freud’s refusal of the “culture”/ “civilization” distinction and considers what it means for the idea of a cultural cure. Chapter two considers whether Winnicott’s thinking about “culture” ultimately prioritises the aesthetic over the political. Chapter three uses Aldous Huxley’s Brave New World to explore an analogy between totalitarianism, technology and maternal care. Chapter four turns to the series In Treatment to think about the intersections of therapy and technology in terms of reflection and recognition. Chapter five employs Ian McEwan’s Saturday as a means to reflect on the capacity of culture to cure. Ultimately, I suggest that social “cure” may require more than “good-enough” cultural forms and objects, but Winnicott’s “romantic” theorization of the aesthetic, coupled with a “classic” attention to structures of power and oppression may offer a means of thinking the relationship between psychoanalysis and culture in potentially transformative ways. (shrink)