Recent literature has argued that what makes certain activities ranging from curing cancer to running a marathon count as achievements, and what makes achievements intrinsically valuable is, centrally, that they involve great effort. Although there is much the difficulty-based view gets right, I argue that it generates the wrong results about some central cases of achievement, and this is because it is too narrowly focused on only one perfectionist capacity, the will. I propose a revised perfectionist account on which an (...) achievement is an activity that fully exercises or expresses any number of a range of perfectionist capacities. (shrink)

Purpose of the article is to highlight the peculiarities of the androgyny presentation in current visual culture, in particular in fashion and its philosophical and culturological comprehension. Determination of the leading trends associated with the offset of gender stereotypes and denial of the established separation into the feminine and masculine beginnings is due to the attention to the latest theories, such as transfeminism. Theoretical basis is the works of contemporary authors who develop such concepts as "gender", "gender identity", "androgyne" and (...) move within the limits of the theories of transfeminism and transgenderism. The leading French thinker J. Baudrillard outlines philosophical measurements related to the justification of fashion. The interaction issues of the feminist theory, aesthetics of gender and androgyny, which are manifested in visual images, are presented in the writings of P. Auslander, R. Crepax. Transformation of the androgyny idea is considered in the works of B. Řiháková, F. J. Galarte. S. Stryker, T. Bettcher and J. Halberstam also address the problem of transgenderism and transfeminism in their writings. Originality is to highlight the main aspects associated with actualization of androgyny, its visual presentations in fashion, and the connections with contemporary theoretical discourse. A number of concepts related to the transformation of gender stereotypes have been identified. It was revealed that the logical continuation of changes in society, science and technical development is the actualization of androgyny as an individual’s freedom in self-presentation and self-identification. It was emphasized that during the last century androgyny also serves as the basis for forming new trends in theoretical discourse, in particular, transfeminism, as well as it finds many visual manifestations in fashion and fashion industry. Conclusions contain the results of the study that describes the role of androgyny in the context of today’s culture as a measurement of personal freedom, aimed at avoiding gender stereotypes and the usual dichotomy of masculinity and femininity, which manifests itself in contemporary visual practices. (shrink)

ABSTRACTThe question concerning the relation between thinking and the university is the starting point of this paper. After a very brief outline of some reflections on this topic, the case of Campus in Camps, a Palestinian experimental university, is presented to shed light on this issue. Inspired by Isabelle Stengers’ ecology of practices, it is possible to discern four requirements on thinking in the work of Campus in Camps, namely storytelling, comparing, mapping, and using. It will be argued that the (...) particularity of thinking at the university, is that it is done via artifices that initiate processes of composition, problematization, and attention. In the concluding section, the paper proposes to understand the study practice of Campus in Camps as an adventure that activates a sense of the possible, and hence opens up futures that are different from the ones that present themselves as obvious or unavoidable. (shrink)

This article engages with the work of Scotland-based artist Kate Davis (b.1977). The discussion begins to articulate a framework for understanding Davis's work within a feminist logic of re-visioning and re-citing, strategies that are explicated and suggested as paradigmatic to feminist art production since 1970. Fundamentally, the article explores Davis's complex strategies for adopting and adapting motifs from within the archives of art history, arguing that her work constitutes a mode of visual research and historiography.