While there has been considerable interest in the writings of Søren Kierkegaard and Fyodor Dostoevsky, both of whom are considered seminal existential thinkers, relatively little has been said about similarities in their thought. In this paper, I propose to read their philosophical and literary works together as texts that offer an elaborate model of an existential religious transformation. Both Kierkegaard and Dostoevsky sketch a path leading from the inauthentic, internally fragmented and egotistic self to the authentically Christian, humble and loving (...) individual. By examining the underlying structure of this transformative process, I try to show that its portrayal is in many ways similar in the account of both writers. Furthermore, I maintain that they set out not only to describe the inner workings of the existential religious transformation, but that their effort constitutes a direct appeal to the reader to initiate the transformative process herself or himself. (shrink)

This article examines the concept of the stranger and the experience of strangeness in Albert Camus’s The stranger. These themes have a range of synergies with educational thought. They also lead us to other concepts that may have a place in educational debate, in particular the concepts of the absurd and rebellion. This train of thought also has potential for educational practice. If we accept that strangeness has a positive place in education, Camus is insightful in allowing us to examine (...) its pedagogical foundations and the wider conditions necessary to give rise to the experience of strangeness. (shrink)

In the early 1950s, astronomer Allan Sandage inherited from Edwin Hubble the task of determining whether expansion was real. In the succeeding forty years, Sandage “established the discipline of observational cosmology” (Overbye 1991, 188). At the same time, he encountered the limits of science to address the full mystery of existence. In seeking an answer to the question of purpose, in particular, Sandage came to the “abyss of reason” and made the “leap of faith.” This conversion, however, involved, and continues (...) to involve, an ongoing process of balancing two avenues to the truth, drawing upon resources from both scientific and religious traditions. Reason and faith seem reconcilable in life lived as an experiment and in “bowing before the mystery” (Sandage 1990). Ultimately, Sandage suggests that religious conversion comes not so much through reasoned pursuit as in the realization of being pursued. (shrink)

What do we mean by ‘reality’? Merging philosophical insights with contemporary art, Tine Wilde lets us consider and contemplate who and what we ‘really’ are. Working on artists’ book Zero Point, the article presents a brief overview of her thoughts, relating a spatial-geometrical perspective to the quest for self-knowledge, and subsequently extrapolating the findings to the notion of unknown knowledge.

This paper critically examines the philosophical foundations of Colin Wilson’s New Existentialism. I will show how Wilson’s writings promoted a phenomenological strategy for understanding states of ecstatic affirmation within so-called ‘peak experiences’. Wilson subsequently attempted to use the life affirming insights bestowed by peak states to establish an ontological ground for values to serve as a foundation for his New Existentialism. Because of its psychological focus however, I argue that Wilson’s New Existentialism contains an ambivalent framework for establishing ontological categories, (...) which leads his thought into theoretical difficulties. More precisely, Wilson’s strategy runs into problems in coherently integrating its explicitly psychological interpretation of Husserl’s theory of intentionality within a broader, and philosophically coherent, phenomenological framework. Wilson’s psychological reading of Husserl’s transcendental reduction, for example, manifests tensions in how it reconciles the empirical basis of acts of transcendence with an essentialist conception of the self as a transcendental ego. The above tensions, I argue, ultimately render the New Existentialism susceptible to criticism from a Husserlian-transcendental perspective. After outlining a Husserlian critique of Wilson’s position, I end the paper by suggesting how some of the central insights of the New Existentialism might help to bridge the gap that persists between pure phenomenological description and metaphysics. (shrink)

This study applied a body of knowledge derived from the common core thesis of mysticism to investigate the hypothesis that similarities in belief significantly contribute to the appearance of overlap between mystical and positive dimension schizotypal phenomena. Data from 211 university students who completed Hood's Mysticism Scale and Eckblad and Chapman's Magical Ideation Scale were submitted to correlational analyses. Contrary to the hypothesis, results indicated that positive schizotypy correlates more strongly with the experiential dimensions of mysticism than with the interpretive (...) dimension of mysticism. These correlation differences suggest criteria for distinguishing mystical and schizotypal experiences and identify specific points of overlap. Suggestions for future research into this relationship, and implications for schizotypy research, are noted. (shrink)

The metaphorization of space creates possibilities for modelling ‘complex’ phenomena. Four generic spatialities are explored - physical, social, documentary and paradigmatic. There are four irreducible constructions of physical space - realist, dualist, idealist and pluralist. The generic conception of social space plays off the static against the dynamic. Documentary space is the product of contingently defined formal and informational qualities. Paradigmatic space is divided into discreet regions, each defined in incommensurable terms, with the proviso that an ironic, reflexive position may (...) exist beyond the dissolution of metaphysics. Organization is the differentiation of space and its subsequent narrative/visual reconstruction embodied in a temporal blur. ‘Design’ has an ontologically focussed meaning - designed objects, designs as objects - and an epistemologically focussed one - design processes, design as knowledge. The museum comprises an archaeology of instit-utional forms, has an uncertain material/social boundary and is a reflexive organization. The organization of design presents a constellation of four complex objects - product, programme, process, and philosophy. The design of museum design involves a reconstruction of ideolo-gically-charged, multidisciplinary, reflexive practice. Organizations display conserva-tive, ‘museographical’ qualities and radically-creative, ‘new-museological’ qualities. The museum-design-organization complex places the practitioner at the ‘moment’ of forward-projecting and backward-projecting processes of material culture. This promotes productive processes of organizational perversion, subversion and inversion. Design is an organizational virus, the museum radically adaptive because multiply infected. Through consideration of organizational and museological objects, design research may find its centre. (shrink)