This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the (...) dominance of referential art following the conceptualist period. Referential artworks are split into object and reference. This impedes untrammeled creativity, which would otherwise promote the integration of diverse formal elements. This article proposes painting that exemplifies such artistic creation. (shrink)

Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are interpeted as (...) co-relational rather than as discrete, mutually indifferent or ethnocentrically nativist traditions. (shrink)

No USA president in history has received as much opposition as Donald Trump has from all three components of the Establishment, namely the financial establishment, the political establishment and the corporate media establishment. The election of Donald Trump to the office of presidency is marked with dozens of historical first events that are anything but lackluster, yet a bleak picture of Fascism has been painted to describe Trump. This is an extraordinary piece of disinformation, as no modern president has been (...) more consistent in plainly saying what he will do regarding US military and geopolitical goals, both outside and in office. This, even though his stated position is clearly opposite to the wishes of the dominant cabal, supported by both parties, and to US foreign policy since WWII. USA history is not very long, but Trump presidency and his inaugural speech marked a historic starting point for this 'democracy'. Every sentence of Donald J. Trump's inaugural speech was a departure from diplomacy. Knowing what diplomacy actually means, it's a great step toward transparency. It is the best thing that happened in US political history. It is no surprise the Media established completely flipped, the political establishment gasped, and the financial establishment started to conspire a different strategy (George Soros declaring he wants Trump presidency to fail). In the mean time, the typically apolitical science and technology establishment declared Trump completely unfit for the office that he has just been elected to. Trump’s inaugural speech that contained phrases like, "It's time to remember that old wisdom our soldiers will never forget, that whether we are black or brown or white, we all bleed the same red blood of patriots", was in sharp contrast to how Abraham Lincoln viewed America, when he said, "I, as much as any other man, stand in favor of having the superior position assigned to the white race… I have no purpose to introduce political and social equality between the white and the black races." Trump’s embrace of humanity and righteousness was reminiscent of Prophet Muhammad’s last sermon at the pilgrimage, where he said over 1400 years, "An Arab is no better than a non-Arab, and a non-Arab is no better than an Arab; a red man is no better than a black man and a black man is no better than a red man – except if it is in terms of piety." Yet, Trump took oath of office swearing on the bible used by Abraham Lincoln. In this two-part paper, the key research question answered is what Trump presidency stands for. In answering this question, the first part deconstructs some of the dominant theories of Fascism. Then, a delinearized history is constructed in order to understand how democracy, as applied in USA, has an inevitable outcome of achieving the same goals as a Fascist regime. The concept of religious extremism, including “Islamic terrorism” or “radical Islam” is also discussed with relevance to ‘war on terror’. The history of US presidency then shows that the office of presidency is used as a tool to advance a Fascist agenda, albeit being packaged as USA exceptionalism. The ground is set for part 2 that analyses the rise of Trump and the demise of DNC integrity, followed by deconstruction of various allegations against Trump. (shrink)

It is both amazing and fitting that this huge, jargon-laden (this book really needs a glossary!), heavily academic work has become a best seller in the world of the educated. One has to be dedicated to learn the jargon and then plow through 551 pages of text and 238 pages of notes. Meanwhile, we are told time and again that this is just an outline of what is to come! -/- Though he severely criticizes the excesses of the three movements, (...) this is a deconstructive and New Age Mystical and postmodern interpretation of religion, philosophy and the behavioral sciences from a very liberal,spiritual point of view—i.e., without the worst of decon, pm and NAM jargon, rabid egalitarianism and anti-scientific anti-intellectualism. -/- He analyzes in some detail the various world views of philosophy, psychology, sociology and religion, exposing their fatal reductionistic flaws with (mostly) care and brilliance, but most of the sources he analyzes are of almost no relevance today. They use terminology and concepts that were already outdated when he was researching and writing 20 years ago. One has to slog thru endless pages of jargon -laden discussion of Habermas, Kant, Emerson, Jung et.al. to get to the pearls. -/- You get a terrific sampling of bad writing, confused and outdated ideas and obsolete jargon. -/- If one has a good current education, it is doubly painful to read this book (and most writing on human behavior). Painful because it´s so tortured and confusing and then again when you realized how simple it is with modern psychology and philosophy. The terminology and ideas are horrifically confused and dated (but less so in Wilber´s own analysis than in his sources). -/- This book and most of its sources are would-be psychology texts, though most of the authors did not realize it. It is about human behavior and reasoning-about why we think and act the way we do and how we might change in the future. But (like all such discussion until recently) none of the explanations are really explanations, and so they give no insight into human behavior. Nobody discusses the mental mechanisms involved. It is like describing how a car works by discussing the steering wheel and metal and paint without any knowledge of the engine, fuel or drive train. In fact, like most older ´explanations` of behavior, the texts quoted here and the comments by Wilber are often more interesting for what kinds of things they accept (and omit!) as explanations, and the kind of reasoning they use, than for the actual content. -/- If one is up on philosophy and cognitive and evolutionary psychology, most of this is archaic. Like nearly everyone (scholars and public alike--eg, see my review of Dennett´s Freedom Evolves and other books), he does not understand that the basics of religion and ethics-- in fact all human behavior, are programmed into our genes. A revolution in understanding ourselves was taking place while he was writing his many books and it passed him by. -/- Those wishing a comprehensive up to date framework for human behavior from the modern two systems view may consult my article The Logical Structure of Philosophy, Psychology, Mind and Language as Revealed in Wittgenstein and Searle 59p(2016). For all my articles on Wittgenstein and Searle see my e-book ‘The Logical Structure of Philosophy, Psychology, Mind and Language in Wittgenstein and Searle 367p (2016). Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). (shrink)

This is an End Note to 'Deconstructing the Physical World: The Substructure of Language' (DPWSL) that validates key concepts introduced in DPWSL by demostrating how they can be used to build a model able to describe, explain and predict the Stroop effect, the reverse Stroop effect and other Stroop-related effects, which are an array of empirically reproducible effects widely studied in cognitive psychology.

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Can deconstruction be accomplished not through the close reading of just one discourse, but through its combination with another? This paper aims at exploring this second way of performing deconstruction through a particular case study: Marxism and psychoanalysis. In the body of the essay, the history of Freudo-Marxism is divided into two parts, depending on which psychoanalyst stands as point of reference: Freud or Lacan. We proceed by studying the four main strategies by virtue of which a genuine combination between (...) Marxism and psychoanalysis has been historically attempted: separation (Reich), domination (Marcuse), contradiction (Althusser) and, finally, deconstruction (Laclau). (shrink)

[Winner of the American Philosophical Association’s 2024 Journal of Value Inquiry Prize.] My thesis is that certain non-verbal paintings such as Picasso’s GUERNICA make (simple) arguments. If this is correct and the arguments are reasonably good, it would indicate one way that non-literary art can be cognitively valuable, since argument can provide the justification needed for knowledge or understanding. The focus is on painting, but my findings seem applicable to comparable visual art forms (a sculpture is also considered). My (...) approach largely consists of identifying pertinent features of viable literary cognitivism and then showing how they or close analogues can be applied to non-verbal painting. The two main features are the requirements, first, that the relevant knowledge is provided significantly in virtue of the distinctive essential feature of literary fictions, i.e., their fictionality, and second, that the knowledge stems primarily from the content of the work, not from what the auditor brings to the work. Some ways that literary fiction has been taken to be argumentative are explained, and striking similarities are found between argumentative literary fiction and argumentative painting. Potential objections are addressed, and I examine a proposed way to express, in a schematized format, both the power of an argumentative painting and its relatively simple associated propositional content. (shrink)

This is Appendix B to the note, Deconstructing the Physical World (DPW). This appendix extends DPW to provide a set of new conceptual tools able inter alia to deliver a systematic, well-structured and highly novel set of insights into: core aspects of how language learning and use might work; what precisely is going on in inverted qualia thought experiments and in relation to the knowledge argument; and how incorporating differentiated forms of qualia into some fundamental ideas about language learning and (...) use can help more clearly define what we mean when we refer to such things as ‘concepts’ and ‘imagination’. (shrink)

Some metaphysics are provided showing that what is commonly called ‘the physical world’ can be deconstructed into three ‘levels’: a single, unified ‘noumenal world’ on which everything supervenes; a ‘phenomenal world’ that we each privately experience through direct perception of phenomena; and a ‘collective world’ that people in any given ‘language using group’ experience through learning, using and adapting that group’s language. This deconstruction is shown to enable a clear account of qualia and of how people can hold some (...) things to be physically real even when it is clear no one can ever directly experience those things as phenomena. It is further shown to enable a single, internally consistent, largely empirically supported conceptual framework – a ‘metacosmology’ – able to encompass not only the physical world as people conceive of it for everyday purposes, and as scientists conceive of it for scientific purposes, but also people’s first person phenomenal experience of a physical world and, prospectively, the mechanisms by which such first person, conscious experiences can be generated. (shrink)

Ce mémoire vise à élucider le rapport entre la violence et le pouvoir souverain à partir de la Critique de la violence de Walter Benjamin et Force de loi de Jacques Derrida. Les réflexions proposées ici sont issues de deux constats : (i) que nos structures politiques reposent sur l’emploi continu de la violence et (ii) qu’une révolution abolit l’ordre existant en s’accordant le monopole sur la violence légitime, reconduisant ainsi le cycle de la violence. Pour sortir de cette impasse, (...) Benjamin imagine une violence capable de destituer le pouvoir souverain, c’est-à-dire de l’abolir sans pour autant le saisir à son tour. Ce mémoire poursuit le développement du concept de destitution en trois temps. Dans un premier temps, nous lisons de près la Critique de la violence de Benjamin. Dans un deuxième temps, nous approfondissons notre analyse avec la lecture déconstructive proposée par Derrida dans Force de loi. Finalement, le concept de destitution est enrichi par des travaux contemporains et examiné sous l’angle de la responsabilité pour l’avenir. -/- *** -/- This thesis investigates the relationship between violence and sovereign power by drawing on Walter Benjamin's Critique of Violence and Jacques Derrida's Force de loi. The reflections proposed here are based on two observations: (i) that our political structures are based on the continuous use of violence, and (ii) that a revolution abolishes the existing order by granting itself a monopoly on legitimate violence, thus renewing the cycle of violence. To break this deadlock, Benjamin imagines a form of violence capable of destituting sovereign power, i.e. abolishing it without seizing it. This dissertation further develops the concept of destitution in three steps. First, we carefully read Benjamin's Critique of Violence. Secondly, we deepen our analysis with the deconstructive reading proposed by Derrida in Force de loi. Finally, we enrich the concept of destitution with contemporary works and examine it through the lens of responsibility for what is to come. (shrink)

This paper explores two related questions in late Athenian and Alexandrian Neoplatonism. First, how can a philosopher contemplate the eternal Forms while engaging in practical agency in the world? Second, do Neoplatonists provide a consistent account of the philosopher’s progress through the ‘stages of virtue’ (βαθμοί τῶν ἀρετῶν), the conceptual structure that underpins late antique philosophical curricula and hagiography? These questions interact, I suggest, because later Platonists appeal to the stages of virtue and divine maniai (βαθμοί τῶν μανίων) to explain (...) the philosopher’s ability to alternate gracefully between contemplation and embodied agency, and even to engage in both activities at the same moment. I argue that apparently contradictory evidence for the highest stages of virtue can be reconciled satisfactorily, shedding light on two models of ethical and perceptual transformation that are consistent throughout later Neoplatonism. In the first, 'painterly' model, we alternate between a vision of the paradigmatic model and its expression in the media of place and time; in the second, 'dancerly' model, we contemplate in action all at once, like a dancer moving to the music. (shrink)

This paper draws on the deconstruction(ist) toolbox and specifically on the textual unweaving tactics of supplementarity, exemplarity, and parergonality, with a view to critically assessing institutional (UNESCO’s) and ordinary tourists’ claims to authenticity as regards artifacts and sites of ‘cultural heritage’. Through the ‘destru[k]tion’ of claims to ‘originality’ and ‘myths of origin’, that function as preservatives for canning such artifacts and sites, the cultural arche-writing that forces signifiers to piously bow before a limited string of ‘transcendental signifieds’ is brought to (...) full view. The stench of the aeons is thus forced to evaporate through a post-transcendentalist opening towards originary myths’ original doubles. (shrink)

‘Justice’ is spoken of in two ways: the lawful and the fair. The law is a human construct that is devoted to the advantage of all, or to the advantage of the best, or to the advantage of those in power or to the advantage of those representing it – let it be the politician, the media, the TV presenter, the filmmaker. Thus, the law serves the production or the preservation of happiness within politics and business. The law commands us (...) to act according to the mean. A well-written law follows the mean well and a poorly written law does not. On the other hand, fairness is a principle sometimes materialised through the law and the given justice system. Fairness is the ultimate value pursued by both the common law and civil law traditions. However, its distribution through the law and the representation of this delivery varies. Does this mean that a different kind of justice is distributed? Through the teachings of Aristotle, this essay aims to deconstruct the notion of justice, by breaking down its two ingredients, the lawful and the fair, and by analysing the effect of their representation in modern European society. The relativity attached to the notion of justice is not a modern phenomenon, but a philosophical matter that can be analysed and indeed explained through the teachings of Aristotle and its contemporary students. The analysis will be developed in the context of convergent Europe, focusing on the role of the media and courts especially in relation to criminal justice. (shrink)

The Deconstruction of Philosophy : The Spectres of Jacques Derrida - Irfan Ajvazi.

‘Painting’ names both a practice and its products. Both practice and product can, but need not, be art. When painting is art, in what does its artistic interest lie? This is the question an aesthetics of painting seeks to answer. While that answer might be sought in features found in other arts, here we investigate whether painting is of distinctive interest, containing phenomena of artistic value not to be found in most, or perhaps any, other art (...) forms. (shrink)

This chapter focusses on Martin Lang's ongoing practiced-based research project "The Truth in Painting 1993", which employs painting, photography and digital manipulation brought together in pictures that depict events from 1993. Each painting in the series contains an amalgamation of analogue painterly marks, printed scans of paintings and digital painting. The projects anticipates that both the lack of certainty around the mediums used, and the occasions depicted in the works, will spur viewers to question notions of (...) socially constructed and mind-independent truths connected to incidents of that time. In this essay, Lang frames his work in relation to ideas of slippage of the work of art as a single, unique, entity in Jacques Derrida's The Truth in Painting (1978) and Enrico Terrone's concept of "standards of correctness" in "The Post-truth in Painting" (2019). This positions Lang's project in a post-truth world, where the "truth is out there", but which cannot always be clearly defined and understood. (shrink)

Misinformation can have significant societal consequences. For example, misinformation about climate change has confused the public and stalled support for mitigation policies. When people lack the expertise and skill to evaluate the science behind a claim, they typically rely on heuristics such as substituting judgment about something complex (i.e. climate science) with judgment about something simple (i.e. the character of people who speak about climate science) and are therefore vulnerable to misleading information. Inoculation theory offers one approach to effectively neutralize (...) the influence of misinformation. Typically, inoculations convey resistance by providing people with information that counters misinformation. In contrast, we propose inoculating against misinformation by explaining the fallacious reasoning within misleading denialist claims. We offer a strategy based on critical thinking methods to analyse and detect poor reasoning within denialist claims. This strategy includes detailing argument structure, determining the truth of the premises, and checking for validity, hidden premises, or ambiguous language. Focusing on argument structure also facilitates the identification of reasoning fallacies by locating them in the reasoning process. Because this reason-based form of inoculation is based on general critical thinking methods, it offers the distinct advantage of being accessible to those who lack expertise in climate science. We applied this approach to 42 common denialist claims and find that they all demonstrate fallacious reasoning and fail to refute the scientific consensus regarding anthropogenic global warming. This comprehensive deconstruction and refutation of the most common denialist claims about climate change is designed to act as a resource for communicators and educators who teach climate science and/or critical thinking. (shrink)

According to the influential thesis of attentional transparency, in having or reflecting on an ordinary visual experience, we can attend only outwards, to qualities the experience represents, never to intrinsic qualities of the experience itself, i.e., to “mental paint.” According to the competing view, attentional semitransparency, although we usually attend outwards, to qualities the experience represents, we can also attend inwards, to mental paint. So far, philosophers have debated this topic in strictly armchair means, especially phenomenological reflection. My aim in (...) this paper is to show how to design an experiment, using the change detection paradigm for studying visual working memory that, if yielding positive results, would support AS. The structure of the argument is as follows. In standard change detection tasks, which involve attention to qualities the experience represents, there exists a known object integration effect (Luck and Vogel in Nature 390(6657):279–281, 1997). I formulate a hypothesis I call “the turn-off hypothesis,” according to which this effect does not exist in change detection tasks where subjects are instructed to attend to mental paint. I argue that, given AS, we have some reason to expect the turn-off hypothesis to be true, but given AT, we do not. Consequently, the truth of the turn-off hypothesis would support AS. I further argue that one can straightforwardly test the turn-off hypothesis, taking the standard change detection paradigm and instructing participants to attend inwards. (shrink)

Harman famously argues that a particular class of antifunctionalist arguments from the intrinsic properties of mental states or events (in particular, visual experiences) can be defused by distinguishing “properties of the object of experience from properties of the experience of an object” and by realizing that the latter are not introspectively accessible (or are transparent). More specifically, Harman argues that we are or can be introspectively aware only of the properties of the object of an experience but not the properties (...) of the experience of an object and hence that the fact that functionalism leaves out the properties of the experience of an object does not show that it leaves out anything mentally relevant. In this paper, I argue that Harman’s attempt to defuse the anti-functionalist arguments in question is unsuccessful. After making a distinction between the thesis of experiencing-act transparency and the thesis of mental-paint transparency, (and casting some doubt on the former,) I mainly target the latter and argue that it is false. The thesis of mental-paint transparency is false, I claim, not because mental paint involves some introspectively accessible properties that are different from the properties of the objects of experiences but because what I call the identity thesis is true, viz. that mental paint is the same as (an array of) properties of the object of experience. The identification of mental paint with properties of the object of experience entails that the antifunctionalist arguments Harman criticizes cannot be rightly accused of committing the fallacy of confusing the two. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

I will here present a number of problems concerning the idea that there is ontological vagueness, and the related claim that appeal to this idea can help solve some vagueness-related problems. A theme underlying the discussion will be the distinction between vagueness specifically and indeterminacy more generally (and, relatedly, the distinction between ontological vagueness and ontological indeterminacy). Even if the world is somehow ontologically indeterminate it by no means follows that it is, properly speaking, ontologically vague.1..

In this paper, I argue that Augustine's conception of God as substance (substantia) has misleadingly been evoked by Martin Heidegger's deconstruction of onto-theological and substantialist variants of metaphysics as they mistook entities (Seienden, entia, beings) f r their very Being (Sein, ens, esse) which cannot be conceptualized or objectified by human thinking, but makes both their thought and reality possible. Even though Augustine sought somehow to reconcile a Neoplatonic, essentialist cosmology with a Judeo-Christian worldview of historical redemption, Heidegger not only (...) failed to properly recognize his indebtedness to Augustinian existential anthropology, but also the latter's contention that the actuality of beings and contingent history ultimately determines ontological concepts in their basic difference from their ontical counterparts, compromising thus Heidegger's intuitive criticisms against the confusion between God and Being (Sein). (shrink)

A recent report by the Swedish National Council for Crime Prevention in cooperation with the Swedish Security Service shows that the Internet has been extensively used to spread propaganda by proponents of violent political extremism, characterized by a worldview painted in black and white, an anti-democratic viewpoint, and intolerance towards persons with opposing ideas. We provide five arguments suggesting that philosophical dialogue with young persons would be beneficial to their acquisition of insights, attitudes and thinking tools for encountering such propaganda. (...) The arguments are based on stated requirements for problem solutions given by experts in violent political extremism, recent research about the effects of philosophical dialogue in young persons’ thinking skills, and parts of the basic theoretical framework of Philosophy for Children. Philosophical dialogues seem a promising way for young people to achieve a stronger democratic awareness and a more tenacious resistance against extremist views online. (shrink)

This paper examines East Asian literati’s sisŏhwa (poetry, calligraphy and painting) mainly done by ink and wash painting and focuses on their painting theories related to integrative learning and artistic practice. The literati expressed their philosophical ideas using visual and textual language according to Illyul theory based on the Sŏhwa Same Origin theory. They delivered their intentions through symbolic meaning of the visible in terms of the Uisang theory, and put emphasis on ki in their pictorial space (...) using the Kiunsaengdong theory in a monistic universe. The literati’s process of sisŏhwa practice unifies the mind/spirit with body/material and connects humans with nature/the universe. It also enables the creation of a representation of nature according to Shitao’s Oneness of Brushstroke theory. Ultimately it trained them for aesthetic harmony and spiritual enlightenment. As a result, Sisŏhwa Contemplative Practice theory was formed. This paper suggests that this theory should be reconstructed as the basic discipline in education. (shrink)

___MERGING of temporally distant events: One perceives a singular causal relation that c causes e whenever c instantiates a mental property C which anticipates a certain mental property E instantiated by e. Such a knowledge of future self is feasible by there being a common mental property D that is instantiated by both c and e. -/- ___SPLITTING to temporally distant events: In the action that is aimed to bring about E, the knowledge or perception or D (explained by the (...) anticipation of E by C) in turn causally explains an event cc instantiating C and then (via causing cc) event ee instantiating E. (shrink)

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the (...) conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

Introduction to Voragine’s Special Dossier “Death, from Painting to Film: Philosophical Conversations” -/- Vorágine’s ninth issue contains a special dossier on possible philosophical conversations between death and the arts, in particular regarding their transition from painting to photography and film. It includes four articles dedicated to exploring the ways in which death has been represented and imagined by the visual arts, prompting future film-philosophical conversations within aesthetic, cultural, and political studies.

In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can be given regarding intuitions about (...) temporally-rotated music. That is, if Markosian wants to hold on to the assumptions that underwrite his argument, then he thereby offers his opponent the resources with which to resist his conclusion. As such, Markosian’s argument cannot offer a new independent consideration for adjudicating the metaphysical debate between the Dynamic Theorist and the Spacetime Theorist. [Unpublishable 2019]. (shrink)

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art frauds. Thirty-five (...) cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art. (shrink)

I distinguish two senses of the word “deconstruction.” Then I quote a passage by a critic from the 1860s which, together with trends of that time, gives rise to the question of whether deconstructive interpretation existed in the nineteenth century.

This paper considers evidence, primarily drawn from art, that one kind of impossible colour, yellowish blue, can be experienced.

As part of a larger study, predictors of self-blame were investigated in a sample of 149 undergraduate sexual assault survivors. Each participant completed questionnaires regarding their preassault, peritraumatic, and post assault experiences and participated in an individual interview. Results confirmed the central hypothesis that, although several established correlates independently relate to self-blame, only cognitive content and process variables—negative self-cognitions and counterfactual-preventability cognitions—uniquely predict self-blame in a multivariate model.

El título es claro, y nunca he creído en los resúmenes. El que quiera leer, que lea. ¡Ah! ¡Y que lo haga en español!

This chapter focusses on Martin Lang's ongoing practiced-based research project "The Truth in Painting 1993" which employs painting, photography and digital manipulation brought together in pictures that depict events from 1993. Each painting in the series contains an amalgamation of "analogue" painterly marks, printed scans of paintings and digital painting. The projects anticipates that both the lack of certainty around the mediums used, and the occasions depicted in the works, will spur viewers to question notions of (...) socially constructed and mind-independent truths connected to incidents of that time. In this essay, Lang frames his work in relation to ideas of slippage of the work of art as a single, unique, entity in Jacques Derrida's "The Truth in Painting" (1978) and Enrico Terrone's concept of "standards of correctness" in "The Post-truth in Painting" (2019). This positions Lang's project in a "post-truth world", where "the truth is out there", but which cannot always be clearly defined and understood. (shrink)

This essay explores how contemporary works of critical theory and deconstruction can challenge preconceptions of the body and embodiments and interrogate their limits, particularly in relation to intertwined foldings of desire, gender, race and sexuality. It aims to suggest that Jacques Derrida’s acute concern for the question of translation might help challenge and re-configure the conventional dichotomy between understandings of the body either as physical/material or as socio-culturally constructed. The authors then analyse the questions of translation and untranslatability in relation (...) to interculturality, and explore their implications for thinking the corporeal and the material. (shrink)

I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".

In this article I claim that distinction should be made between an "early Derrida" and a "later Derrida," similar to the one made between Wittgenstein of the Tractatus and Wittgenstein of the Investigations, or between Heidegger before the Kehre and Heidegger after it. Acceptance of such a distinction enables us to understand Derrida's teachings more clearly, to solve a disagreement in Derrida scholarship, and to understand his deconstruction as less contradictory. I shall also explain the reasons for, and causes of, (...) the change in Derrida' teachings and distinguish between those aspects that changed and those that did not. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This book explores consciousness, attention and Will from a unique viewpoint endeavoring to answer David Chalmers "Hard Problem". It expounds on the various processes involved with the transfer of physical objects and qualia, through cognitive processes and into phenomenal conscious experience. It also expounds a new theory on the fundamental building blocks of consciousness with its distribution into the physical, phenomenal and physio-phenomenal realms which subsume consciousness. Along the way, excerpts from articles and books by various authors are explored, including: (...) David Chalmers, Alexander Baldachev, Derik Schiller, Michael Tye, Emanuel Kant, Montemayer & Haladjisn and Gary Hatfield. (shrink)

This paper argues that there is a need to reconstruct a new paradigm for poverty policy planning in Africa because Neo-liberalism, Ubuntu ethics and African Socialism as proposed paradigms for Africa’s development are untenable. This is so because the above trio are sexist, androcentric and oblivious to structural injustices that feminize poverty in Africa. The paper further argues that even in the Western world, the neo-liberal GDP metric has been challenged and the search for alternative development indicators and paradigms is (...) on. In addition, there is a fully fledged post-neo-liberalism movement in Latin America and a de-growth and post-growth social movement in the West against neo-liberalism and its nebulous economic growth understanding of wellbeing. The paper contends that Africa cannot afford to remain aloof to all these developments. There is therefore a need to develop Pan African paradigms to articulate an endogenous perspective to African development. The paper thus advocates for the Dignified Humanness Paradigm (DHP) as an alternative to neo-liberalism, Ubuntu ethics and African Socialism. The paper also surmises that the actualization of the DHP requires an immediate awakening of the Pan African Moral Consciousness since this will militate on decolonization of the African mind from the amoral neo-liberal economism. (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...) and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

The question of justice in Western philosophy finds its humble beginnings in the interplay of life and death. I am referring here to Plato’s Apology. The Apology is not only a text tracing the fate of the great philosopher Socrates by recounting his final speech before the judges of Athens, but it is also a text that, on a more subtle level, announces the advent of a promising justice that is birthed from death, or, to be more precise, from a (...) specific kind of death. Socrates, here, develops a justice that does not surge from the defence of one’s determination as a singular accused, or from the reconciliation of the criminal singularity into the ethical social body through pardon or punishment, but which rather derives from a negation, a radical annihilation of the category of pure singularity. Socrates does not defend himself as an accused who is determinately and definitively singular, but rather affirms the fact that, in some sense, there is no such singular to be defended, that he is not even one (οὐδείς), less than one, nothing. It is, precisely, in this affirmation of a negative, in this opening of a chasm, that a radically other conception of justice and its relation to the singular is subtly proposed. By pushing the singular to the margins of its possibility, by challenging, bending, pushing the question of the singular and its defence to its outmost limit, Socrates redeploys justice not as a remedying balance, but as the abysmal economy of the bottomless question, a fall into the void, in which life, death, the singular and justice co-incide to burst all definitive determination, substantial opposition and the possibility of establishing a firm ground for any such categories to hold as such. In gradually shedding off the substantial presuppositions of his singularity (knowledge, self-relation and relation to others), he unleashes a modality of the singular which deploys a kind of justice, a wholly other justice, which has shaken the tradition ever since, and, as this article will seek to show, reverberates again in what Jacques Derrida called deconstruction. (shrink)

The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...) to unite the palace of the Louvre with the palace of the Tuileries built by Catherine de Medicis. The Cour Carrée was built by the architects Lemercier and then Le Vau, under the reign of Louis XIII and Louis XIV. The Department of Paintings currently has about 7,500 paintings (of which 3,400 are exposed), covering a period that goes from the Middle Ages to 1848 (date of the beginning of the Second Republic). By including the deposits, the collection is, with 12,660 works, the largest collection of ancient paintings in the world. With rare exceptions, the works after 1848 were transferred to the Musée d'Orsay when it was created in 1986. CONTENTS: Louvre Museum - Variety of exhibited works - The Royal Palace - The collections - - Eastern antiquities - - Arts of Islam - - Egyptian Antiquities - - Greek, Etruscan and Roman Antiquities - - Paintings - - - French school - - - Northern Schools (Flanders, Netherlands, Germany) - - - Italian School - - - Other schools Painting - Definitions - Painting genres - - The landscape - - Still life Paintings - FRANCOIS BOUCHER - - Vulcan presenting arms to Venus for Aeneas - RAPHAEL - - Portrait of Baldassare Castiglione - RUBENS - - Helena Fourment with children - LOUIS DAVID - - Madame Récamier - REMBRANDT - - Portrait of Heindrickje Stoffels - VELAZQUEZ - - Portrait of the Infanta Margarita - SIMONE MEMMI - - Jesus Christ walking on Calvary - JAN STEEN - - The Bad Company - HANS HOLBEIN - - Erasmus - CORREGGIO - - Mystic Marriage of Saint Catherine - LANCRET - - Conversation - JAN VAN DER MEER (VERMEER) - - The Lacemaker - VAN DYCK - - Charles I at the Hunt - FRANÇOIS CLOUET - - Elisabeth of Austria (1554-1592), Wife of Charles IX and Queen of France (1570 - 1574) - DELACROIX - - The Barque of Dante - EL GRECO - - Saint Louis, King of France, and a page - REMBRANDT - - Pilgrims at Emmaus (The Supper at Emmaus) - GERARD DAVID - - Marriage at Cana - RAPHAEL - - Portrait of Dona Isabel de Requesens, Vice-Queen of Naples - RUBENS - - La Kermesse (The Village Fête, or Noce de village) - FRANS HALS - - The Gypsy Girl - DECAMPS - - The Sonneurs - HOLBEIN THE YOUNGER - - Anne of Cleves - P. PRUD’HON - - Psyche transported to Heaven - PHILIPPE DE CHAMPAIGNE - - Portrait of Richelieu - LANCRET - - The Autumn - L. DAVID - - Madame Seriziat - COROT - - Recollection of Mortefontaine - LEONARDO DA VINCI - - La belle ferronnière - CORREGGIO - - Venus and Cupid with a Satyr - WATTEAU - - Pilgrimage to Cythera (The Embarkation for Cythera) - NICOLAS POUSSIN - - The Inspiration of the Poet - PRUD’HON - - The Empress Josephine (1763-1814) - FRAGONARD - - The Bathers - H. RIGAUD - - Louis XIV (1638–1715) - TERBURG - - The Concert - LEOPOLD ROBERT - - The Pilgrimage to the Madonna of the Arch - LARGILLIERE - - Family Portrait - MANTEGNA - - Parnassus - MEMLING - - The Virgin and Child between St James and St Dominic - FRAGONARD - - The Music Lesson - JEAN VAN EYCK - - The Virgin of chancellor Rolin - PAOLO VERONESE - - Susannah and the Elders - FRANÇOIS BOUCHER - - Diana leaving her bath - GÉRICAULT - - The Raft of the Medusa - MURILLO - - Assumption of the Virgin - CLAUDE GELLEE (LORRAIN) - - Ulysses returning Chryseis to her father (Marine, setting sun) - INGRES - - Madame Riviere - E. MURILLO - - The Young Beggar - GREUZE - - The Broken Pitcher - PIETER DE HOOCH - - Card players in an opulent interior - POUSSIN - - Et in Arcadia ego - QUENTIN MATSYS - - The moneylender and his wife - ANDREA SOLARIO - - Madonna with the Green Cushion - TITIEN - - Woman with a Mirror - DAVID TENIERS (the Younger) - - The Works of Mercy - LEONARDO DA VINCI - - Mona Lisa (La Gioconda) - Armand Dayot . (shrink)

Cybernetic Revelation explores the dual philosophical histories of deconstruction and artificial intelligence, tracing the development of concepts like "logos" and the notion of modeling the mind technologically from pre-history to contemporary thinkers such as Slavoj Zizek and Steven Pinker. The writing is clear and accessible throughout, yet the text probes deeply into major philosophers seen by JD Casten as "conceptual engineers." -/- Philosophers covered include: Anaximander, Heraclitus, Parmenides, Plato, Aristotle, Philo, Augustine, Shakespeare, Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, Kant, Hegel, (...) Nietzsche, Freud, Jung, Joyce, Dewey, Wittgenstein, Heidegger, Adorno, Benjamin, Derrida, Chomsky, Zizek, Pinker, Dennett, Hofstadter, Stiegler + more; with special chapters on: AI's history, Complexity, Deconstructing AI, Aesthetics, Consciousness + more... (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Why should a person, and in the context of this conference particularly an art historian, take seriously the notion of the aesthetic, its discovery and/or rediscovery? Aesthetics might after all be considered at best something of a distraction from bread and butter historical and sociological analysis, and at worst entirely incompatible with it. Pursuing the line further it might be urged that, since on the one hand aesthetics is about 'how things appear'—i.e. is subject to individual predilection, taste and feeling—and (...) on the other, historical analysis is about the careful and scholarly reconstruction of a past social reality, the two must be at loggerheads. What the art historian writes about on a weekday whilst wearing her hard hat at the office must not be confused with what she personally feels, wandering around a gallery in her woolly hat at the weekend. (shrink)

This article pursues the exploration of how contemporary works of deconstruction can challenge preconceptions of the body and embodiments and interrogate their limits, particularly in relation to intertwined foldings of desire, gender, race and sexuality. Through readings of Jacques Derrida and Sarah Kofman, the authors show that deconstruction allows for an understanding of the body or bodies that goes beyond the present body — indexed as human, male, white, able, living body — thus opening up towards the thinking of bodies (...) and corporealities exceeding the limitations of Christian transsubstantiation and of the Eucharist. The deconstructive body is not one of communion; it is one of (self-)interruption, différance and non-presence. It is the other's body — or the body as otherly. The authors then analyse the ethical-political implications of this thinking of another body, one inassimilable by Western metaphysics, and marked by incalculable sexual differences, animality, undecidable life-death, machinicity, monstrosity, and so on. (shrink)