Social activity and public involvement in participatory practices, and the creation of civic spaces on the basis of the museum have become relevant for the formation of the concept of a modern museum. Such practices are especially important in times of crisis when history is being documented online and the Rapid Response Collecting (RRC) method is becoming widespread. Modern war discourse requires the newest forms of archiving and description because the recording of history is complicated by the volatility (...) of the military situation, the movement of large flows of displaced persons, and the departure of citizens abroad. The Ukrainian experience of documenting the war is examined in the article taking the example of the ATO Museum (an acronym for anti-terrorist operation) in Dnipro and the online Museum of Civilian Voices. It is important for us to pay attention to the national peculiarities of the codification of collective memory through individual experience and life stories during the full-scale military aggression against Ukraine, and to show the newest forms of presenting the evidence of war. (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)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation (...) which takes on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

Museums lose their conceptual complexity and polysemy under conditions of war, forced confrontation, and struggles for survival, which may lead to a loss of diversity in the long run. Parametric General Systems analysis allows us to consider a museum as a system and to explore substratum, structural, and conceptual types of simplicity and complexity. Such qualitative analysis makes it possible to move the discussion from the ideological and value sphere to the field of rational and science-based justification. This justification, (...) in turn, illustrates why it is important to maintain complex interpretations in Ukrainian museums during the current war. (shrink)

Com o propósito de analisar a relação entre ser e movimento a partir dos conceitos de ato e potência, elaboramos um mapeamento do livro Θ da Metafísica, capaz de orientar o entendimento de sua estrutura central. Visto como um dos modos de se dizer o ser, o ser em ato e em potência é parte integrante e fundamental da investigação metafísica. A distinção entre ser em ato e em potência pretende resolver o clássico problema do não-ser que vem a ser, (...) mostrando como o não-ser é apenas não-ser ainda em ato, mas já é ser em potência e este guarda as condições para sua necessária atualização. A reconstrução argumentativa de Θ procurou ressaltar três aspectos principais: (1) Ato e potência funcionam como um elemento de conexão entre as outras ciências – práticas, produtivas e teóricas – que são subordinadas à Ciência do Ser enquanto Ser, a Metafísica. (2) Há uma forte relação entre o par conceitual ato/potência e os outros conceitos fundamentais da filosofia aristotélica, tais como: substância, forma, matéria, ação, bem, natureza e fim. Desse modo, ato e potência somente serão plenamente compreendidos se também forem considerados esses outros conceitos. (3) Há uma relação direta entre os dois sentidos em que ato e potência podem ser entendidos - o cinético e o metafísico - e a seguinte divisão interna de Θ: de Θ1 a Θ5 a investigação está centrada sob o ângulo do movimento, é o momento cinético, em que Aristóteles dedica-se mais à análise da potência caracterizada como um princípio de movimento. (shrink)

This paper is about Cultural Organizations Management, more specifically, in Museums Management, and it is framework in Balanced Scorecard. The paper focuses on one of the perspectives, known as the customer perspective, which is divided into two parallel dimensions, the Visitor's Perspective, and the Social Demand Perspective. It should be noted that typology of museums is diverse, and each organization has a unique mission, a strategic plan according to it and, therefore, its own balanced scorecard. But there may be common (...) strategic objectives and indicators that are useful for managing different museums. The objective of this paper is to be able to provide indicators that facilitate cultural management in the design of a Balanced Scorecard. Likewise, having general indicators allows comparability between different organizations, and provides a useful tool to evaluate the management of a group of museums in a community or region. This paper shows the different ways museums can increase visitors, either through the permanent collection, temporary exhibitions, the online collection, or the opportunity’s provided by Museum Friends Association. Indicators are proposed to meet the strategic objective of increasing visitors in its different types. Likewise, emphasis is placed on Social Demand, which is user's demand for certain heritage assets, including museums. (shrink)

No debate acerca da singularidade de, pelos menos, alguns de nossos pensamentos sobre o mundo, assume-se corriqueiramente que o responsável pela natureza singular do episódio mental não é o próprio episódio e, sim, a proposição singular expressa quer por um proferimento assertórico de sentença singular autônoma, quer pela cláusula complementar em um relato de atribuição de atitude proposicional. As rotas semânticas padrão assumem que a singularidade do episódio mental (conceitual) é por assim dizer “herdada” da singularidade do conteúdo. Argumento que (...) este pressuposto apresenta uma lacuna, pois desconsidera o papel desempenhado em certos atos de pensamento, chamados de episódicos, por habilidades cognitivas tais como a capacidade de perceber objetos particulares, de vivenciar (novamente) ou de projetar-se mentalmente em direção a acontecimentos particulares pessoais, diretamente responsáveis por sua singularidade. No entanto, contra a tese de que haveria capacidades episódicas aí envolvidas, argumento que a singularidade dos atos de pensar episódicos se dá pelo exercício pontual no espaço e no tempo dessas capacidades e há, portanto, um sentido não derivado em que eles podem ser qualificados como singulares. (shrink)

This richly illustrated book offers new perspectives and research on how digital culture is transforming museums in the 21st century, as they strive to keep pace with emerging technologies driving cultural and social change, played out not only in today’s pervasive networked environment of the Internet and Web, but in everyday life, from home to work and on city streets. In a world where digital culture has redefined human information behavior as life in code and digits, increasingly it dominates human (...) activity and communication. These developments have radically changed the expectations of the museum visitor, real and virtual, the work of museum professionals and, most prominently, the nature of museum exhibitions, while digital art and life in a digitally saturated world is changing our ways of seeing, doing, our senses and aesthetics. -/- Overall, this book creates a new picture of the 21st-century museum field. As museums become shared spaces with their communities, local, national and global and move from collection-centered to user-/visitor-centered institutions, they are assuming new roles and responsibilities tied to new goals for engaging their audience, conveying meaning through collections, creating learning experiences and importantly, connecting to daily digital life and culture integral to the museum ecosystem. Our studies of recent exhibitions at museums leading change are used to exemplify new directions, while they point to a reimagined vision for museums of the future at the heart of which is the integration of digital culture and visitor experience and participation in real and virtual space. (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)

This chapter delves into the museological side of ‘the way forward’ to conservation for planetary health bioethics. Specifically, it highlights the crucial role that museums play – their curatorial or exhibition interventions, conservation operations, development policies, or practices – which present or represent the vital relationship between human and planetary health. While it is not new to stress the significance of museums’ link to the environment and environmental education, it is necessary to re-examine recent cases in light of the rapid (...) changes brought about by climate change and the constant call for sustainability. We thus offer a review of some recent literature that appraises the museum’s role in bioethically considering the health of our living planet. Learning this role taps into relatively new themes such as ecomuseums and architectural heritage, or critical eco-museology. (shrink)

The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, (...) as an “unfortunate” consequence, those artists who wished to become famous were not able to avoid certain art institutions, such as museums, galleries, curators or critics. Until now. The internet, especially Facebook, provide genuinely new options/ opportunities for the virtual display of art pieces, an option that artists are eager to take advantage of. In the following, I will present the process of expansion of the public artistic sphere, I will attempt to show why Facebook serves well as a public artistic arena, and finally, I will present some salient Facebook-art-projects. The presented projects will include works by a street artist (Banksy), a performance artist (Gusztáv Ütő) and a graphic designer (Dan Perjovsky). These three artists are intrigued by current social issues, which are usually reflected in their works, also they all wish to spread their messages to the widest possible public. On of their favorite channels is the Facebook Wall. (shrink)

In 2020, TICCIH published its thematic study on oil heritage, the first global assessment of the heritage of petroleum production and the oil industry, and of the places, structures, sites, and landscapes that might be conserved for their historical, technical, social, or architectural attributes. In many cases, the petroleum production sites and historical infrastructures, situated in corrosive and fragile landscapes, are costly to conserve, challenging to re-use, and pre-function considering their contribution to climate change. TICCIH also included the proposals for (...) criteria to evaluate this heritage and priorities for conserving the most important sites, ensembles, and landscapes, from regional inventories up to World Heritage sites. In this report, the heritage of the petroleum industry is defined as ‘the most significant fixed, tangible evidence for the discovery, exploitation, production, and consumption of petroleum products and their impact on human and natural landscapes’. While the importance of the historical evidence for the oil industry as a tangible cultural heritage is self-evident, it is also challenging to define an integrated and holistic strategy from a conversation point of view. For achieving holistic and methodological re-use strategies, it is required to reconsider various factors such as national policies and economic systems. (shrink)

To commemorate the tragic event of Super Typhoon Yolanda (International Name: Haiyan) last 2013, local leaders of the province of Leyte, Philippines, are speculating on establishing a Haiyan Museum in 2023, a decade later. With connotations of ‘dark tourism’, one way to look at the speculative decade-inspired establishment is through Amy Sodaro’s ‘memorial museums’ with the purpose of ‘education-based memorialization.’ Juxtaposing this with Paul Morrow’s philosophical perception of objects in memorial museums as possible provocateurs of repulsive feelings, there is (...) a lingering suspicion of whether exhibits in the museum can really flesh out educational, therapeutic reflections or healing. Then, the crucial question to be addressed is: will this Haiyan Museum house feelings of healing, 10 years later, or trauma? To answer this question, I take insights from survivor-curators or the museum curators of Region VIII, Philippines, who experienced the Haiyan tragedy at, or proximate to, the landfall and aftermath first-hand. The notion of a ‘survivor-curator’ is a vital coinage that would represent a close perception of the museum and its museum objects. The responses are then thematised into a more coherent discussion to see how museums can be spaces of healing in their communal aspect and future museum projects. (shrink)

Among the various functions of museums are the notions that they attract, entertain and arose curiosity in visitors, which leads to questioning thus promoting learning. This 21st century shows many new needs and preoccupations of contemporary society relating to museums. Although there are many, access to museums, professionalism, the nature of museums, issues of collection and management are all highlighted as being particularly significant. Running across all these issues is the recurrent theme of the relationship between a museum and (...) tourism. Therefore, the main objective of the study was to assess the condition of the Ethnographic Museum (Fetewrari Belay Ethnographic House) in Aksum and its contribution to tourism development. For the methodology, a descriptive research design inculcating quantitative and qualitative aspects was used. Samples were drawn from tourism service providers, targeted professionals, church and local community representatives and visitors by applying both probability and non-probability sampling methods. Finally, the major findings of the study show that the Ethnographic Museum of Aksum is the custodian of immense private heritage, inter alia the building, clothes, crosses, pottery, wood items, clay items, artifacts, and gifts to the Afterari, etc. The museum also has excellent tourism potential, however because of its mismanagement and lack of promotion from both the owner and the concerned tourism bodies it is not visited as much as it could be. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

I address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be (...) particularly aesthetically valuable at all. Second: to what ontologicaltypeorcategorydo museum objects belong? Whattypeof item should be featured on an inventory of a museum collection? I distinguish betweentypicalobjects andspecialobjects. While these are different types of object, both, I argue, areabstracta, notconcreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects. (shrink)

Part of a book forum on Ato Sekyi-Otu's 'Left Universalism, Africacentric Essays' with a response by the author.

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)

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at (...) the time of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology studies, (...) the problem potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

Neste artigo é apresentada uma interpretação dos critérios propostos por Aristóteles para separar as ações voluntárias das demais ações, assim como do tratamento aristotélico das ações mistas, das não-voluntárias e das reações morais que lhes são devidas. A interpretação defendida se concentra na Ética Nicomaquéia (EN) e faz uso da Ética Eudêmia (EE) apenas ocasionalmente. Só podemos afirmar que agimos de forma involuntária ou não-voluntária quando somos constrangidos a sofrer uma determinada ação ou quando realizamos algo por acidente.

Baseado no pensamento teológico de Bultmann e na sua hermenêutica existencialista, o artigo se detém na justificação e na sua relação com a fé como evento escatológico enquanto obediência e decisão fundada no ato da graça de Deus segundo a teologia do Apóstolo Paulo. Dessa forma, o artigo assinala que, consistindo a justiça de Deus em uma possibilidade para os ouvintes da pregação diante do caráter absoluto do domínio exercido pelo poder do pecado em um processo que subjuga todos os (...) seres humanos à escravidão e implica a impossibilidade de justificação diante de Deus por intermédio das obras da Lei, a fé enquanto obediência e decisão constitui o evento escatológico em uma construção que a encerra como o novo caminho salvífico que, emergindo como a lei da fé, se contrapõe à lei das obras, convergindo para a justificação enquanto justiça de Deus. Assim, se a fé é uma concessão de Deus em um movimento que encerra a ideia de predestinação, tal caraterização não implica, contudo, uma operação que dispense o ser humano da responsabilidade do ato de decisão, mas consiste no fato de que a referida possibilidade mantém dependência absoluta da graça de Deus e, dessa forma, constitui um evento no qual a decisão não pode emergir senão como dádiva de Deus. (shrink)

This dissertation asks the question of how ownership over property in museums is decided. It concludes that for a range of candidate concepts of property, none of them oblige museums to repatriate artefacts unless we weaken Young’s theory to repatriate through how much artefacts are valued by a culture. However, this dissertation rejects the Ownership Argument as a defence for repatriation. To do this, it will be considering three options of how we understand ‘property’ through three scholars: Locke, Young and (...) Thompson. This dissertation will discuss the difference between cultural internationalism and cultural nationalism to flip the question, and attempt to defend a view that museums should retain the artefacts under their possession. To do this dissertation justice, this work has been interdisciplinary, exploring museums, law, applied philosophy, applied ethics, epistemic and metaphysical concepts, to discuss the ways in which repatriation is defended through property. It must be noted that property theories are in vast abundance, however, to keep the project manageable, it does not include prominent philosophers such as Nozick, Hobbes, and Rosseau. Although, given that the three concepts this dissertation discusses do not work, it seems unlikely that a different version would due to similar objections. (shrink)

This study focuses on nuclear tourism, which flourished a decade ago in the Exclusion Zone, a regimented area around the Chornobyl Nuclear Power Plant (Ukraine) established in 1986, where the largest recorded nuclear explosion in human history occurred. The mass pilgrimage movement transformed the place into an open air museum, a space that preserves the remnants of Soviet culture, revealing human tragedies of displacement and deaths, and the nature of state nuclear power. This study examines the impact of the (...) site on its visitors and the motivations for their persistence and activities in the Zone, and argues that through photography, cartography, exploration, and discovery, the pilgrims attempt to decode the historical and ideological meaning of Chornobyl and its significance for future generations. Ultimately, the aesthetic and political space of the Zone helps them establish a conceptual and mnemonic connection between the Soviet past and Ukraine’s present and future. Their practices, in turn, help maintain the Zone’s spatial and epistemological continuity. Importantly, Chornobyl seems to be polysemic in nature, inviting interpretations and shaping people’s national and intellectual identities. (shrink)

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...) to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

O presente artigo pretende explorar a máxima contida em Os irmãos Karamázov (se não há Deus, tudo é permitido?) à luz do pensamento de Immanuel Kant. Para tanto, se vale do pensamento de Dostoiévski apenas na medida em que ele serve como auxílio na apresentação da ideia de Deus e de sua relação com a posição do ateu. Tendo em vista a filosofia kantiana, buscamos não apenas a apresentação dessa ideia, mas também sua relação com o ato moral e com (...) a própria condição desse ato. Isso, portanto, resultará em Kant, uma resposta duplamente negativa à pergunta que reflete a posição ateísta de Ivan Karamazov. Pois Kant ao distinguir o ato moral por dever e conforme o dever, defende que recorrer a algo externo à razão (Deus) constituiria uma vontade meramente heterônoma. Portanto, o ato moral por excelência ocorre quando a ação é realizada de um modo unicamente guiado pela razão, com base num interesse puro, e isso conduz, por sua vez, à reprovação por parte de Kant da referida máxima presente na obra de Dostoiévski. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

An analysis of three pictorial works by Ugo Nespolo is put forward: "Barbe posticce" (1977); "Guardar Manzoni" (1974); "Il museo: Fontana" (1975). It is claimed that such works embody meditations on the concept and the varieties of representation, that they prompt critical reflections on the role of museums in art-making, and that they suggest an alternative route to that of the 'dematerialization' of the art object for the understanding of contemporary art.

This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always (...) sufficient to avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...) and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

In this paper I argue that the idiosyncrasy of linguistic competence fosters semantic conceptions in which meanings are taken for granted, such as the one that Quine calls ‘uncritical semantics’ or ‘the myth of the museum’. This is due to the degree of automaticity in the use of language which is needed for fluent conversation. Indeed, fluent conversation requires that we speakers instinctively associate each word or sentence with its meaning (or linguistic use), and instinctively resort to the conceptual (...) repertoire of our language, without calling into question that the meaning of a particular word, or the conceptual repertoire of our language, could have been different than they are. This habit of taking meanings for granted, inherent to our linguistic ability, sometimes interferes with our semantic research, hampering it. In order to illustrate this problem, I pinpoint four places in Quine’s work where, despite his acknowledged analytical rigour, and despite his congenital aversion to the habit of taking meanings for granted, he himself appears to slip into this habit, inadvertently. (shrink)

O PRINCÍPIO DE RECIPROCIDADE: CONCEITO, EXEMPLOS, PRINCÍPIOS E COMO EVITÁ-LO -/- THE RECIPROCITY PRINCIPLE: CONCEPT, EXAMPLES, PRINCIPLES AND HOW TO AVOID IT -/- Emanuel Isaque Cordeiro da Silva - CAP-UFPE/IFPE-BJ/UFRPE. [email protected] ou [email protected] WhatsApp: (82)98143-8399 -/- PREMISSA -/- Desde a infância, somos ensinados a sermos gratos e devolver os favores que eles nos fizeram. Nós temos essa regra tão internalizada que funciona em muitos casos automaticamente. O problema é que existem pessoas, empresas e associações que usam essa regra contra nós, (...) sem que percebamos. -/- Os princípios da reciprocidade nos dizem que isso deve sempre partir da autenticidade, da espontaneidade e da bondade humana. É um "você me dá eu te dou" porque eu quero e me desculpe, nada me obriga, mas vou corresponder por sua vez a tudo que você faz por mim. -/- Um dos princípios da reciprocidade sugere que as pessoas têm um sexto sentido. Um onde ser capaz de discriminar o altruísmo do egoísmo, e especialmente, aqueles que fazem coisas por nós por mero interesse, e não por afeição ou respeito. Porque a autêntica reciprocidade , lembre-se, deve sempre partir da bondade e da espontaneidade. -/- Este é um tópico tão interessante quanto complexo. Sabemos, por exemplo, que o campo da espiritualidade sempre esteve ligado a essa dimensão que se destaca, a mais nobre do ser humano. -/- 1. Conceituação do Princípio da Reciprocidade -/- O princípio da reciprocidade é um dos princípios de influência que nos obrigam a retribuir os favores que nos foram feitos, mesmo nos casos em que não os solicitamos. -/- O princípio da reciprocidade é um dos 6 princípios de influência enunciados por Robert Cialdini em seu livro Influence: Science and practice (1984). -/- Uma das normas básicas da sociedade humana é baseada na correspondência de favores. Nós todos sabemos o ditado: -/- “É de bem-nascido, ser agradecido” - Anônimo. -/- De fato, ter a reputação de ingrato ou "gorrón" é um dos piores estigmas que podem ocorrer em uma sociedade. Poderíamos dizer que o princípio da reciprocidade ajuda a tornar a sociedade mais “justa”. -/- O problema surge quando alguns indivíduos ou grupos se aproveitam do princípio da reciprocidade para submeter a vontade de outra pessoa sem que sua decisão os beneficie. -/- 1.1 Conceituação quanto ao Estado -/- Este princípio implica que os estados vão assumir direitos e deveres com base no tratamento recíproco. Não é apenas um reconhecimento formal, mas exige que seja seguido por um comportamento e que, com base nesse comportamento, os direitos de outro Estado sejam reconhecidos por reciprocidade. -/- Este princípio foi elaborado pela doutrina do século XVII, através do gentium comitas, para responder às limitações que o reconhecimento do princípio da territorialidade impunha ao incipiente e intenso tráfego internacional. -/- A concepção territorial do exercício dos poderes soberanos implica que os Estados poderão exercer com exclusividade esses poderes, de modo que o princípio da reciprocidade proporcionará aos Estados a possibilidade de realizar seus direitos no território de outro Estado com base em um comportamento recíproco. Esse tratamento recíproco pode ou não ter sua origem convencional, embora cada vez mais ele seja incorporado a certos tipos de tratados internacionais, como, por exemplo, os que se referem à extradição; aqueles cujo propósito é o reconhecimento de benefícios fiscais aos nacionais de seus respectivos Estados no território de outro Estado Parte; aqueles que reconhecem os direitos dos nacionais de outro Estado Parte, bem como aqueles que reconhecem seus próprios nacionais, quando dizem que os estrangeiros estão em seu território; ou, por exemplo, aqueles que reconhecem decisões judiciais tomadas por órgãos jurisdicionais de outro Estado. -/- Quando não há obrigação convencional de seguir um determinado comportamento de um Estado em relação a outro Estado, esse princípio adquire maior importância, se possível, em questões de cooperação internacional. Em qualquer caso, a aplicação deste princípio nunca deve implicar uma descompensação de esforços entre os Estados envolvidos, de modo que um dos Estados obtém um benefício claramente em detrimento do outro. O tratamento recíproco também deve implicar tratamento recíproco justo. -/- 2. Exemplos do Princípio da Reciprocidade -/- O método de obtenção de esmolas do Hare Krishna é um dos melhores exemplos de como o princípio da reciprocidade influencia nossas decisões. Em vez de simplesmente pedir doações para financiar sua causa aos transeuntes, eles criaram um sistema muito mais eficaz. O que eles estavam fazendo era dar uma flor para cada pessoa e se recusar a devolvê-la. Depois de receberem o "presente", eles foram solicitados a fazer uma doação para sua organização. Desta forma, as receitas da organização aumentaram. -/- O princípio de reciprocidade é também eficaz através de uma concessão, tal como realizar a menos do que um pedido inicial . Em outras palavras, outra pessoa é mais propensa a aceitar seu pedido se você fizer um pedido muito maior do que a petição, porque o princípio da reciprocidade fará com que ele se sinta "endividado" com você, mesmo que você não tenha feito nenhum favor a ele. -/- Vale salientar, também, que a reciprocidade é um termo muito estudado e analisado por disciplinas como marketing e publicidade . -/- Um exemplo: nas empresas, como as empresas de telefonia, é comum criar programas de fidelidade. De acordo com essa abordagem, o que a marca procura é criar uma aliança emocional com seu cliente e, para isso, recorre a oferecer-lhe certos presentes ou benefícios . Às vezes, eles podem ser megabytes gratuitos e outras vezes você pode renovar um celular sem nenhum custo. -/- A ideia de que eles estão recebendo um "presente apenas porque sim" sempre cria uma marca positiva na pessoa. Um onde o relacionamento de lealdade acaba aparecendo, favorecendo a disposição do cliente em continuar com aquele operador específico e não com outro. Portanto, embora seja impressionante, a reciprocidade permeia grande parte de nossos cenários sociais . -/- Agora, onde realmente queremos entender a anatomia da reciprocidade está no campo das relações humanas. Portanto, vamos analisar suas principais características. -/- 3. Os Princípios do Princípio da Reciprocidade -/- Um dos maiores especialistas nos princípios da reciprocidade é Robert Cialdini. Em seu livro Influence: Science and practice ele detalha quais são as chaves para a sociedade humana, aquelas que de certa forma nos enobrecem e destacam o melhor de nós mesmos. -/- O capítulo mais interessante é, sem dúvida, aquele dedicado à reciprocidade, onde nos lembramos de algo importante: sempre haverá aqueles que fazem uso dessa dimensão para nos manipular. Ou seja, que uma pessoa ou uma entidade (por exemplo, uma empresa de telefonia móvel) têm concessões conosco não significa que está tendo esse gesto altruísta apenas porque é. Às vezes, há um interesse camuflado . Portanto, é importante que compreendamos os princípios da autêntica reciprocidade, aquilo que parte da bondade e da consideração. -/- “Ingrato é aquele que nega o benefício recebido; ingrato é aquele que o esconde, o mais ingrato é aquele que não o devolve, e muito mais ingrato que esquece”. - Lucio Anneo Seneca- -/- 3.1 Atos Espontâneos com Intencionalidade -/- O Código de Hamurabi, aquele conjunto de leis babilônicas da antiga Mesopotâmia, também continha certos princípios de moralidade, onde se entendia que, se alguém nos fizesse um favor, deveria ser devolvido. De alguma forma, poderíamos traduzir essa definição como a mais antiga que temos até agora sobre o que é a reciprocidade. -/- No entanto, deve-se notar que este termo vai muito além do simples escambo de "eu te dou porque você me deu". Na verdade, integra os seguintes conceitos: -/- ➢ Espontaneidade: Quando alguém (conhecido ou desconhecido) escolhe fazer alguma coisa por nós, eles o fazem voluntariamente e espontaneamente. É uma ação nascida da bondade . -/- ➢ Intencionalidade: Essa ação espontânea sempre tem um fim, e esse objetivo sempre gera um benefício real para a outra pessoa configurar um dos mais importantes princípios de reciprocidade. -/- 3.2 O Poder da Impressão Emocional: devolvemos o favor porque nos sentimos gratos e inspirados -/- Apontamos no início que, em média, as pessoas têm um sexto sentido com o qual intuir quem faz algo por nós de maneira interessada ou altruísta . Esta bússola moral é o que ativa o princípio da reciprocidade em muitos casos. -/- Por exemplo, imagine que hoje em dia nossas complicações surgem e não temos escolha a não ser ficar mais uma hora. De repente, um parceiro com quem nunca falamos, escolhe nos ajudar nessa situação . Ele fica conosco e graças a ele resolvemos o problema. -/- Esse ato deixa uma marca emocional em nós. Sabemos que essa ação foi voluntária e nobre. Portanto, o segundo dos princípios da reciprocidade nos diz que quanto mais profunda é essa marca emocional, mais motivados nos sentimos para retribuir o favor. E faremos isso do coração e sem qualquer obrigação. -/- 3.3 Princípios de Reciprocidade: não medir o que você recebe para ajustar o que você oferece -/- Outro dos princípios mais relevantes de reciprocidade é o seguinte: não meça o que eles lhe dão para calcular o que você deve oferecer . Admita, vivemos em um mundo onde, em média, olhamos com lupa o que eles nos oferecem para não ter que dar mais do que deveríamos. -/- Além disso, às vezes até caímos em estados de grande indignação quando vemos que os outros não se comportam conosco como fazemos com eles.Esperamos que os que nos rodeiam, pelo menos, sejam os mesmos que oferecemos. E se isso não acontecer, nós sofremos. -/- Essa abordagem é um grande erro e é uma enorme fonte de arrependimentos. Porque a reciprocidade não está sofrendo. Também não é medir com lupa ou pesar com equilíbrio tudo o que eles nos dão ou que damos para esperar o mesmo dos outros. Fazê-lo desbota todos os princípios da reciprocidade, pois nesse caso estaremos fazendo uso do egoísmo. Vamos pensar sobre isso. -/- 4. Como Evitar o Princípio da Reciprocidade -/- Para evitar tomar decisões erradas por causa do princípio da reciprocidade, o essencial é saber dizer não . Por exemplo, quando alguém lhe oferece algo que realmente não lhe interessa, é melhor que você se recuse, já que essa pessoa pode fingir obter algum tipo de favor sua no futuro, mesmo que seja inconsciente. Em outras palavras, devemos apenas aceitar favores que sejam úteis para nós e que sejam realizados de "boa fé". -/- No caso de nos fazerem um favor que não pedimos para influenciar nosso comportamento, devemos estar cientes de que, se nos pedem algo que não faríamos se não fosse pelo favor anterior, devemos nos recusar a fazê-lo. Ou seja, devemos agir como se não tivessem nos feito nenhum favor , uma vez que tem sido apenas um truque para influenciar nossas decisões futuras. -/- Estimule a criatividade. Respeite o direito autoral. -/- Recife - PE, 2019 Todos os direitos reservados para Emanuel Isaque. Qualquer reprodução sem a autorização do autor confere infração do Art. 184 do Código Penal e da Lei 9610/98, e estarão sujeitos à privação da liberdade. (shrink)

Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym tak- że odgraniczania architektury od (...) literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę,ile literacką relację o zbrodni przełamującej historię ludzkość. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary (...) art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

Abstract The awakening of art to self-awareness and the statement of its autonomy are modern phenomena. The way we think about art in the modern age may be derived from the Kantian “beauty without concept”. Beautiful art is the work of the genius, who creates a work of art that is valuable in itself and is admired in museums by the public. That which I call here “the modern paradigm of art” is based on an absence: the non-conceptuality of the (...) beautiful, i.e., the fact that objective qualities cannot define the beautiful. This absence establishes originality as the essential requirement for modern art and creates the possibility for artists to push the boundaries of the modern paradigm. Thus, the 20thcentury sees the appearance of strategies for overriding or substituting originality. The artist withdraws from behind her work, and the work of art is no longer an unapproachable object with an aura, just as the museum is also no longer the temple of the arts. But do these experiments overcome the frontiers of art’s modern paradigm? And, more generally, can this paradigm be overcome at all? Here I deduct three elements of the modern paradigm of art from the idea of “beauty without concept”: (1) the original artist, who is seen as a genius, (2) the work of art with an aura, and (3) the museum as the temple of art. Then I present how artists, based on the requirement of originality, worked on dismantling the frontiers of the modern paradigm. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

O termo respeito é derivado do latim respectus, que corresponde ao uso substantivo do particípio passado do verbo respicere, cujo significado literal é "olhar para trás", "olhar de volta", "olhar novamente", "considerar" (do latim re "de novo" e spicere "olhar"). Derivações do termo latino respectus são encontradas tanto no francês antigo (sec. VIII-XIX), cujo termo respit significa "descansar", "repousar", quanto no inglês médio (sec. XI-XV), cujo termo respect aparece, assumindo a função de nome, no sentido de "relação ou referência a (...) uma coisa ou situação específica" e, na função de verbo, no sentido de "ser digno de consideração ou estima". Na linguagem comum, respeito é uma das palavras cotidianas que aparece em uma multiplicidade de contextos. De um modo mais amplo, poder-se-ia definir respeito como o reconhecimento do valor e da dignidade de algo, do qual decorre um conjunto de comportamentos e estados de ânimo como resposta. Em primeira instância, é importante observar que o conceito de respeito implica sempre uma relação, como no caso em que utilizamos a locução "a respeito de". O respeito leva em conta uma relação responsiva entre sujeito e objeto na qual o sujeito responde ao objeto devido ao reconhecimento de certas características nele. Como o termo latino nos sugere, essa relação envolve um "olhar de volta" que é, ao mesmo tempo, um "considerar", ou seja, trata-se de um certo tipo de apreciação do objeto baseada em elementos tais como a atenção, o julgamento, o conhecimento, a valorização e a deferência. Nesse sentido, respeitar é uma maneira particular de se apreender objeto, na qual uma atenção especial é requerida com o propósito de reconhecer o objeto, não segundo as distorções perpetradas pela nossa subjetividade, mas em sua própria dignidade. Embora o ato de respeitar tenha origem no sujeito, ele não diz respeito primariamente ao sujeito, mas, em vez disso, ao objeto, na medida em que envolve o reconhecimento de uma propriedade que o objeto reivindica para si. Este é o motivo pelo qual respeitar não é meramente uma questão discricionária, baseada em nosso querer e não querer, mas uma experiência [...]. (shrink)

The article works out the thesis that to the excessive desire of the powerful for the absolute appropriation/domination it is opposed a not less excessive and absolute desire from people in order not to be appropriated/dominated: two desires of a distinct nature which are neither the desire for the same things nor the desire for different things, but desires in which the act of desiring is different. Taking into account that each desire aims at its absolute effectiveness, each one of (...) them tries to impose itself universally becoming doubly absolute: for one side it is inclined to the absolute domination (the powerful) or to the plain liberty (the people); for the other side, tries to impose itself to the whole political body. Each desire is only sustained by its heterogeneous desire. Each one pursues its own purposes whose realization will be the ruin of all collective life. Good institutions and good laws ensure liberty as long as they are capable to prevent the powerful or the people to consummate its desire or abandon its own desire to assume the other’s. However, having inscribed the order of law in the disorder of dissent, Machiavelli discarded the idea of an institutional order as a defi nitive solution to the disorder of dissent. Consequently, no law or institution is able to defi nitively resist the risk of corruption. This requires a periodic return to the origins: the experience of the constitutive moment of the original violence which, exposing men to risks, restores the initial reputation and strength of States and institutions. -/- O artigo parte da enunciação da tese de que ao desejo desmesurado dos grandes pela apropriação/dominação absoluta opõe-se um desejo não menos desmesurado e absoluto do povo de não sê-lo: dois desejos de natureza diferente que não são nem o desejo das mesmas coisas nem desejo de coisas diferentes, mas desejos cujo ato de desejar é diferente. Considerando que cada desejo visa sua efetividade absoluta, cada um tenta se impor universalmente tornando-se duplamente absoluto: por um lado, tende à dominação total (os grandes) ou à liberdade plena (o povo); por outro, tenta se impor ao conjunto do corpo político. Cada desejo somente se sustenta do desejo que lhe é heterogêneo. Cada um persegue uma fi nalidade própria cuja realização plena será a ruína de toda vida coletiva. Boas instituições e boas leis asseguram a liberdade na medida em que forem capazes de impedir que grandes ou povo consumam seu desejo ou que abandonem seu desejo próprio para assumir o do outro. Contudo, ao inscrever a ordem da lei na desordem dos dissensos, Maquiavel descartou a ideia de uma ordem institucional como solução defi nitiva da desordem dos dissensos. Consequentemente, nenhuma lei ou instituição é capaz de resistir defi nitivamente ao risco da corrupção. Isso obriga ao retorno periódico às origens: a experiência do momento constitutivo da violência originária que, expondo os homens ao risco, restaura o prestígio e vigor iniciais de Estados e instituições. (shrink)