Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their (...) necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

Robert (Robby) P. Tangtingco’s article was called Bergaño’s dictionary “a work of art” in Lost and Found in Translation in the 18th century. The first thing that they observed is the various dialects or languages used by their countrymen. They were assigned to different regions of the Philippines, and one of them was Fray Diego Bergaño. He was designated to Pampanga where he successfully produced a Kapampangan dictionary called “Arte dela Lengua Pampanga”. From the stated dictionary, the reseacher look for (...) words that were related to food due to the reason that Pampanga is known for its mouthwatering food and delicacies. The dictionary was used as a reference for the translation to the English language. Moreover, various dictionaries were used to look for their translated Filipino language. Due to the rapid changes and modernization, loyalty and love to our own country, specifically language, is slowly fading and dying. With this, the researcher continued the study following the due process. First, she looked for each word related to food in Bergaño’s dictionary. Second, she categorized each food according to rice,grains, seafood, edible animal or insect, fruits and vegetable, herbs, cooking utensils, the process of cooking and preparing food, Pampanga’s delicacies and food, and other terminologies that are related to food. Next, six respondents from Pampanga were invited to join a Zoom meeting. They were asked if which among the words listened to were related to food. Furthermore, the researcher sought if the words used are still being applied or not nowadays. (shrink)

Thailand has a rich history of using aesthetics as a means of communication. This is seen not only in the communication of basic ideas, but aesthetics are also used to communicate the cultural values of the nation. Aesthetical images in Thailand have the tendency to dwell both in the realm of the mundane and the supernatural, in the daily and the esoteric. Historically, many faith traditions have used aesthetics as an effective form of communication, including Buddhism, Brahmanism, as well as (...) other local expressions of deities across the country. Art plays a large role in the daily communication of religious values and concepts. -/- While Christianity has a rather long history in Thailand, the large-scale impact that Christianity, and specifically Protestantism, has had is rather minimal. There can be a myriad of reasons for this, but one potential possibility is Christianity’s lack of an aesthetical engagement upon and within Thai culture. This potentially is not an issue of only the Protestant church in Thailand but also stems from some of the western Christian roots throughout its faith tradition. One finds a chasm between aesthetical practices and faith from the Heidelberg Confession, in which Christians became so worried about the ramifications of idol worship, that they threw out the proverbial ‘baby with the bathwater’ and basically condemned the use of icons and other forms of art in western Protestantism. -/- Therefore, this paper will examine the relationship between Thai culture and Christianity, trying to remove the western biases in Christianity and will attempt to suggest new ways that the Thai Christian Church may develop organic, indigenous Thai art, that can be used as a more effective means of communication. If Christianity wants to effectively convey its concepts into Thai culture, it must value aesthetics as a means of communication. Is it possible that Christianity could not only communicate a more effective message in Thailand, but also that Christianity could experience a more robust self-analyzation of its core concepts through Thai aesthetics? Therefore, one needs to explore the ways that Christianity may be able to better understand itself through current Thai aesthetical practices. These concepts will be explored to develop a more robust and organic way of communicating the Christian concepts through a Thai paradigm. (shrink)

Sprachliche Ausdrücke, mit deren Hilfe wir Spiele beschreiben und vorantreiben, sind in ihrer Verwendungsweise so vielfältig wie kaum irgendwelche anderen Ausdrücke. Und sie haben eine Eigenschaft, die man mit dem Thema Spiel eher nicht in Verbindung bringen würde: Sie eignen sich dazu, auf substantive Weise Metaphysik zu treiben oder wieder ingangzubringen. Diese Art der Starthilfe hat die jahrtausendealte Metaphysik (metaphysica specialis) neuerdings nötig. Seit knapp hundert Jahren steht sie im Verdacht, auf nichts besseres hinauszulaufen als leeres, unverständliches Wortgeklingel. Wer diesen (...) sprachphilosophischen Verdacht auszuräumen wünscht, tut gut daran, unverdächtige Redebereiche zu bemühen. In der Tat, mithilfe unserer höchst robusten, völlig alltäglichen Rede vom Spielen und beim Spielen können wir tiefe metaphysische Möglichkeiten verständlich machen, etwa die Möglichkeit einer Wirklichkeit jenseits oder oberhalb des Bereichs derjenigen Wirklichkeit, die wir Natur oder physisches Universum nennen. Dazu betrachte ich ein philosophisches Gedankenspiel (das den Matrix-Filmen zugrundeliegt und all unsere Wissensansprüche zu unterminieren scheint): Wir sind Gehirne im Tank, d.h. wir haben keinen vollständigen menschlichen Körper, sondern nur ein Gehirn, das in einem Tank mit Nährflüssigkeit schwebt; die Nerven-Enden dieser Gehirne sind mit einem Supercomputer verbunden, der uns die Illusion verschafft, dass alles in Ordnung sei. Hiergegen hat Hilary Putnam folgende sprachphilosophische Schwierigkeit aufgeworfen: Wie soll ein Gehirn im Tank seine eigene Situation treffend auf den Punkt bringen, wenn doch seine Ausdrücke "Tiger", "Gehirn", "Tank" usw. allesamt nicht mit echten Tigern, Gehirnen usw. verknüpft sind, sondern mit Nullen und Einsen im Computer? Putnam trieb diese Schwierigkeit bis an den Punkt, an dem sich zweifelsfrei beweisen lässt, dass wir keine Gehirne im Tank sein können. Und da hatte er meiner Ansicht nach recht. Wie ich meine, sollten wir uns nicht darüber den Kopf zerbrechen, ob wir ein Gehirn im Tank sind, sondern darüber, ob wir in einer analogen Situation stecken, um eine Ebene nach oben verschoben. Um die Metaphern dieser Formulierung des Problems auszupacken, setze ich Spielvokabeln ein. Wegen ihrer atemberaubenden Flexibilität brauchen sie (im Unterschied zur naturwissenschaftlichen Sprache) bei Übersetzung aus der Tanksprache in unsere Sprache nicht verändert zu werden; solche Ausdrücke heißen semantisch stabil. Mit ihrer Hilfe können wir gravierende metaphysische Möglichkeiten aufwerfen, z.B.: "Jemand, der nicht aus Materie besteht und nicht in meinem physischen Universum vorkommt, treibt mit mir von außerhalb seine Machtspielchen". Damit beziehen wir uns vielleicht auf die außerirdische Programmiererin der Simulation, in der wir möglicherweise doch stecken. Weniger respektlos formuliert, wäre das die Frage eines allmächtigen Schöpfergottes außerhalb unserer physikalischen Raumzeit: Metaphysik pur. (shrink)

The role of evolutionary theory at the origin of life is an extensively debated topic. The origin and early development of life is usually separated into a prebiotic phase and a protocellular phase, ultimately leading to the Last Universal Common Ancestor. Most likely, the Last Universal Common Ancestor was subject to Darwinian evolution, but the question remains to what extent Darwinian evolution applies to the prebiotic and protocellular phases. In this review, we reflect on the current status of evolutionary theory (...) in origins of life research by bringing together philosophy of science, evolutionary biology, and empirical research in the origins field. We explore the various ways in which evolutionary theory has been extended beyond biology; we look at how these extensions apply to the prebiotic development of (proto)metabolism; and we investigate how the terminology from evolutionary theory is currently being employed in state-of-the-art origins of life research. In doing so, we identify some of the current obstacles to an evolutionary account of the origins of life, as well as open up new avenues of research. (shrink)

In the seventeenth century, Newton used bis famous prism to found the physics of spectral light, thus revolutionising our thinking about colours; more than a hundred years later, Goethe protested against Newton's theory and discovered a number of new prismatic colour phenomena. Did these episodes in the history of science have any influence on the visual arts? For a decade now my visits to art museums have had an agenda: I have been looking for nineteenth-century paintings with certain spectral colour (...) (which will be described in the first half of this paper). While my search has been unsuccessful in traditional Western art, I found what I was looking for in Japa­nese art: in woodblock prints by Hokusai and Hiroshige. This is surprising; little Western science had reached Japan in their time. The second half of the paper pre­sents this riddle, which I am nowhere near solving. Even without a solution, however, a riddle can be instructive. In this case, it may help to bring into focus the fascinating exchange between two distant cultures. Much has been written on the cultural relativ­ity of colour perception, colour systematisation and colour aesthetics; I want to intro­duce a new and so far unknown case that might contribute to this debate - though the debate itself remains beyond the scope of this paper. (shrink)

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin Kalbi (...) Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

There are at least three basic phenomena that philosophers traditionally classify as paradigm cases of irrationality. In the first two cases, wishful thinking and self-deception, a person wants something to be true and therefore ignores certain relevant facts about the situation, making it appear to herself that it is, in fact, true. The third case, weakness of will, involves a person undertaking a certain action, despite taking herself to have an all-things-considered better reason not to do so. While I think (...) that Stephen Colbert's notion of "truthiness" might be able to fit the mold of each of these three kinds of irrationality, it applies most directly to cases of wishful thinking and self-deception — and it’s these two types of irrationality that I discuss extensively in this paper. As we will see, there are some troubling philosophical problems that arise regarding phenomena like self-deception. But we can use the concept of truthiness to show how these “paradoxes of irrationality” may be resolved without denying the fundamental irrationality of truthiness itself. -/- An earlier version of this paper ("Truthiness, Self-Deception, and Intuitive Knowledge") appeared in "The Daily Show and Philosophy" (2007). (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

In this essay, David Hildebrand connects Democracy and Education to Dewey's wider corpus. Hildebrand argues that Democracy and Education's central objective is to offer a practical and philosophical answer to the question, What is needed to live a meaningful life, and how can education contribute? He argues, further, that this work is still plausible as “summing up” Dewey's overall philosophy due to its focus upon “experience” and “situation,” crucial concepts connecting Dewey's philosophical ideas to one another, to education, and to (...) democracy. He opens the essay with a brief synoptic analysis of Democracy and Education's major philosophical ideas, moves on to sections devoted to experience and situation, and then offers a brief conclusion. Some mention is made throughout about the surprisingly significant role art and aesthetics can play in education. (shrink)

When it became uncool to speak of beauty with respect to pieces of art, physicists started claiming that their results are beautiful. They say, for example, that a theory's beauty speaks in favour of its truth, and that they strive to perform beautiful experiments. What does that mean? The notion cannot be defined. (It cannot be defined in the arts either). Therefore, I elucidate it with examples of optical experimentation. Desaguliers' white synthesis, for example, is more beautiful than Newton's, and (...) the many colourful syntheses done by Viennese painter Ingo Nussbaumer exemplify even greater beauty. Here are some criteria (which, of course, do not implement a decision procedure concerning beauty in experiments): cleanliness, simplicity, intellectual clarity, symmetry. Similar criteria are relevant to our aesthetical judgements about some pieces of music. So we can assume that our notion of beauty conserning art is related to the one conserning scientific experiments. (shrink)

Indagaciones Sonoras. Diálogos entre la música y pensamiento en tres movimientos, del profesor Falla Carrillo presenta tres interesantes aportaciones al respecto estructuradas en dos partes y tres movimientos. La primera parte comprende el movimiento titulado “Ideas sobre la música en el recorrido intelectual de Karl Popper". La segunda parte abarca los movimientos segundos –“Apuntes biográficos e intelectuales de Bernardo Alcedo" y tercero –"Música que piensa y cree. La 'Resurrección' de Gustav Mahler en la perspectiva de Eugenio Trías”. La obra, en (...) su conjunto, está atravesada dos cuestiones de gran relevancia. La primera de ellas es el intento de dilucidación de si, en efecto, “la música es pensamiento"; y la segunda, consecuente con la respuesta a la primera, de si, por lo tanto, se trata de "un arte que debe enseñarse y fomentarse”. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of (...) reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

One of the most mature achievements of the Cartesian philosophy is the aim to diffuse Descartes’ thought among a wider audience by presenting his philosophy in an encyclopedic way. A relevant contribution in this field is Pierre Sylvain Régis’s Système. Régis’s contribution consists both in reconciling the new scientific discoveries with les principes de Monsieur Descartes by combining them into a scholarly manual whose aim is to stimulate the ars inveniendi and in recognizing the relevance of Arnauld’s and Nicole’s L’art (...) de penser as manual of Cartesian logic. In an article published on the «Annali della Scuola Normale Superiore di Pisa», pp. 517-55: L’«Art de penser» nella logica del «Système» di Régis) I analysed Régis’s logic in order to point out that, even if L’art de penser represents its only source, La logique of the Système has not to be considered as a mere compendium of the Port-Royal Logique, but as a revision of the latter according to a specific philosophical system, characterized by the empirical interpretation of Descartes’s philosophy. In this paper I provide a synopsis of the comparison between the logic of the Système and the Logique of Port-Royal, in order to resume in a schematic way the results of my research. (shrink)

Die Frage ist nicht, ob der Realismus (in Sachen Existenz und Beschaffenheit der Außenwelt) zutrifft, sondern was er besagt – und ob er überhaupt etwas besagt. Moritz Schlick sah guten kognitiven Sinn im Realismus und hielt ihn sogar für verifiziert, ganz im Einklang mit seinem Sinnkriterium. Machte Schlick es sich vielleicht zu einfach? Ja; doch muss man nicht viel an seiner Haltung zum Realismus ändern. Statt die Unabhängigkeit der Welt von einer Entität namens Bewusstsein zu verlangen (wie in der Tradition (...) und bei C.I. Lewis) oder die Unabhängigkeit von unserem Leben (wie bei Schlick), schlage ich vor, auf die Welt-Unabhängigkeit von alltäglichen mentalen Vorgängen zu zielen, in all ihrer Vielfalt. Daher untersuche ich der Reihe nach, wie eine Welt ohne Wahrnehmungen, Gefühle bzw. Gedanken aussähe – und zwar unter den Bedingungen einer leicht aufgelockerten Fassung des Sinnkriteriums. In der Tat lässt sich sagen, welche prinzipiell überprüfbaren Umstände (laut Realismus) in einer durch und durch bewusstlosen Welt vorliegen müssten; es geht also um eine Art Nirwana (natürlich ohne ausdrücklichen Bezug zur fernöstlichen Weisheit). (shrink)

Articolo divulgativo pubblicato su L'Indiscreto il 13 aprile 2022. Le opere d'arte sono analizzabili semioticamente: sono qualcosa che sta per qualcos'altro, oggetti che comunicano del significato. Analizzando le loro proprietà, concludo che le opere d'arte, per definizione, sono a metà via tra le icone e i simboli, e sono caratterizzate da un doppio rimando: l'oggetto artistico rimanda ad una qualche entità, che a sua volta viene reinterpreata e usata per comunicare qualcosa di universale. Si discute quindi l'aspetto cognitivo dell'opera d'arte: (...) posto davanti all'opera, il fruitore accede a reti di concetti che costituiscono la sua esperienza estetica. Poiché quali reti di concetti il fruitore esperirà dipende essenzialmente dalle caratteristiche proprie del fruitore stesso, ne consegue che la critica dovrebbe concentrarsi, non sulle caratteristiche delle opere, ma sui modi in cui tali caratteristiche possono interagire con diverse tipologie di fruitori. (shrink)

Vous éprouvez souvent l'embarras du choix? Que sera la liberté au XXIe siècle? Depuis l'invention des machines et des computeurs, notre quotidien semble avoir gagné du temps. Mais en contrepartie, il paraît de plus en plus codé, soumis aux automatismes. Depuis Leibniz jusqu'à la puce biométrique, l'auteur raconte une histoire alternative de l'ère informatique. Il démontre que le " numérisme ", le principe ordinateur, est une vertu humaine ancestrale et nécessaire. Mais insuffisante. Après le sauve-qui-peut du postmodernisme, un nouveau paradigme (...) est en train de naître, le " créalisme " : le monde est notre création commune incessante. L'horizon de notre liberté politique et existentielle, c'est la Terre comme oeuvre d'art. Construit comme une odyssée philosophique curieuse et empreinte d'humour, voici un traité de cocréativité pour une époque aux forces actives éclatées. Où l'on découvre que l'ordre et l'aventure ne sont pas incompatibles. (shrink)

This paper explores spatial justice in urban environments through immersive art and design, focusing on Amsterdam and Houston. It presents a case study from the Venice Biennale 2023, showcasing art's potential in fostering inclusive urban spaces. The study delves into the socio-political complexities of urban areas, highlighting often-ignored liminal spaces and their tensions and possibilities. Immersive art emerges as a transformative medium, capable of challenging and reshaping perceptions of space, and addressing systemic socio-economic disparities. Adopting a transdisciplinary approach, the research (...) combines insights from various fields to enrich discussions on spatial justice and inspire urban transformations. By examining liminal spaces and the 'phygital' nexus, the paper challenges conventional urban narratives and advocates for more inclusive and equitable urban strategies. (shrink)

This review was presented on April 20, 2011 at the American Philosophical Association Pacific Division Annual Meeting in San Diego, CA. The session, Author meets Critics: Empathy in the Context of Philosophy, was organized by the Karl Jaspers Society of North America.

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship between Genette’s (...) and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

Committing to contribute to promoting the 11th progressive cultural element – environmental-healing value – and building the eco-surplus culture for sustainable development, the AISDL Team (represented by Drs. Minh-Hoang Nguyen and Quan-Hoang Vuong) has collaborated with Discover Sustainability to launch “Environmental Sustainability Needs Humanities” Topical Collection. In contributing to the generation of knowledge that aids the social transitions toward an eco-surplus utopia, the Topical Collection welcomes various types of articles across disciplines, including Research, Reviews, Perspectives, Comments, Brief Communications, Case Studies, (...) Registered Reports, and Data Notes that are related but not limited to these issues: - Socio-cultural and economic issues that help mitigate and adapt to climate change and prevent biodiversity loss - Socio-cultural and economic issues that support the development and implementation of nature-based solutions and artificial technologies for achieving environmental sustainability - Factors that help restore the connection between nature and humans, such as science, art, literature, and lived experiences - The psychology towards climate change, biodiversity loss, social transition, and technological transformation - The roles of creativity, serendipity, and knowledge management in sustainability transformation - Sustainable financing mechanism for climate change mitigation and adaptation as well as biodiversity conservation - The roles of urban and rural humans in addressing climate change and biodiversity loss - Global agreement, national commitments, and local actions for addressing climate change and biodiversity loss. (shrink)

Art, beauty, and the voice of God. And what of beauty?

À propos de : Catherine et Raphaël Larrère, Penser et agir avec la nature : Une enquête philosophique, Paris, La Découverte, 2015. -/- L’idée d’une nature sauvage à protéger des avancées techniques ne prend en compte ni la complexité des artefacts, ni ce qu’implique aujourd’hui la protection de la nature. En mettant l’accent sur la notion de biodiversité, C. et R. Larrère cherchent à donner un nouveau fondement à l’écologie politique.

In this research clipping, we present aspects of the audio-visual research Aquilomba Filomove carried out as collaborative action research by the Research Group Filomove: Philosophy, Arts and Latin América Aesthetics in 2018, together with Maria de Tie and the Comunidade Quilombola de Souza, in Chapada of Araripe, Municipality of Porteiras in the south of Ceará, Brazil. The coconut as an intertwined dance, tambourine touch and singing show the body techniques, rhythmic cells and compositional strategies that were part of the reconstruction (...) process of Afro-descendant manifestations, producing spaces of identification for the group. We guide action research towards the critical-reflective rescue of Latin American African American material and immaterial cultural heritage. -/- Neste recorte de pesquisa, apresentamos aspectos da pesquisa audiovisual Aquilomba FiloMove: O processo de re(criar) a tradição na trajetória da Mestra Maria de Tie e a Comunidade Quilombola de Souza realizada como pesquisa ação colaborativa pelo Grupo de Pesquisa FiloMove: Filosofias, Artes e Estéticas da América Latina em 2018, em conjunto com Maria de Tie e a Comunidade Quilombola de Souza, na Chapada de Araripe, Município de Porteiras, no sul do Ceará. O coco, dança entrelaçada, toque do pandeiro e canto, mostra técnicas corporais, células rítmicas e estratégias composicionais que fizeram parte do processo de reconstrução das manifestações afrodescendentes, produzindo espaços de identificação e reconhecimento para o grupo. Orientamos a pesquisa-ação para o resgate crítico-reflexivo do patrimônio cultural material e imaterial afro latino americano. (shrink)

Cet ouvrage oriente la réflexion philosophique sur le romantisme allemand dans une voie nouvelle ayant pour point de départ la singularité des paysages peints par Caspar David Friedrich, et pour concept opératoire majeur la romantisation du monde, dont Novalis a fait le programme d’une philosophie spécifique. Analyser la critique par Hegel du style de Friedrich ; étudier l’invention par Novalis, dans le prolongement de Herder, de quelque chose comme un paysage-corps ; suivre au-delà de Kant le destin du concept de (...) sublime : tels sont les moments principaux d’un parcours qui permet de mettre au jour les liens existant entre la peinture de Friedrich et la problématique de la « révélation » énoncée par Novalis dans ses fragments sur la philosophie romantique. (shrink)

Résumé Si l’absence de moralité des psychopathes a été largement étudiée, il existe peu de recherches sur leurs capacités esthétiques. Pourtant, beaucoup d’études cliniques de cas montrent qu’ils présentent un grave déficit dans ce domaine. Cet article se propose d’en chercher les causes. Il analyse les forces et les limites de l’hypothèse d’un manque d’empathie pour expliquer ces carences esthétiques, et montre pourquoi l’hypothèse d’un manque de distance psychique se révèle plus féconde. Celle-ci permet en outre de comprendre le lien (...) de l’esthétique et de l’éthique par leur filiation commune : elles ont pour socle commun la capacité à prendre de la distance par rapport à des intérêts étroitement égoïstes. (shrink)

Cet essai propose une esthétique contextualiste de l'œuvre d'art dont le paradigme est rapporté à l'artefact de design. Présenté en deux livres, il maintient la spécificité de chacun des deux domaines tout en rendant compte de leurs échanges incessants depuis le début des avant-gardes historiques. Le premier livre débute par l'examen de neuf monochromes rouges imaginés par Arthur Danto et fait appel à l'esthétique institutionnelle de Howard Becker pour les placer dans le contexte des pratiques curatoriales et du "monde de (...) l'art". Une approche contextualiste et empirique qui croise des références à la théorie de l'art, à la théorie institutionnelle, au constructivisme et à la systémique. Le second livre déplace le propos dans le domaine du design. L'histoire de l'art moderne et contemporain et l'histoire du design sont inséparables. Il s'agit pourtant pour chaque discipline de retirer de l'autre ce qui lui revient en propre. L'artefact de design existe dans le contexte de la société et non de l'art et il est lui-même le répartiteur d'un contexte au travers du projet. (shrink)

Dans cette entrée, après une introduction qui servira de cadre à notre discussion (section 1.), nous allons présenter et analyser des définitions du concept « Art ». Nous discuterons brièvement les définitions classiques les plus influentes puis nous nous concentrerons sur les principales définitions contemporaines. -/- Nous verrons pourquoi les définitions classiques sont aujourd’hui considérées comme insatisfaisantes (2.a.), et comment les philosophes, à partir de la seconde moitié du XXème siècle ont tenté de pallier leurs défauts. Dans les grandes lignes, (...) le problème principal soulevé à l’encontre des théories classiques est qu’elles cherchent toutes l’essence de l’art dans un trait caractéristique qui serait reconnaissable dans les œuvres elles-mêmes. Les théories contemporaines répondent à ce problème principalement de quatre façons, comme on le verra dans les sections 2.b à 2.d. Les théories sceptiques (2.b.) défendent qu’il est dès lors impossible de définir l’art – qu’on peut au mieux en donner certains caractères typiques, des airs de famille. Les théories relationnalistes (2.c.) défendent que ce qui fait qu’une chose est de l’art est à trouver en dehors de celle-ci, notamment dans les relations qu’elle entretient avec son contexte de création ou de présentation. Les théories néo-classiques (2.d.) continuent à chercher l’essence de l’art dans un trait caractéristique reconnaissable dans les œuvres elles-mêmes tout en prenant en compte les réactions sceptiques ou relationnalistes. Enfin, la théorie du ‘renvoi de la balle’ (2.e.) défend que l’on ne peut pas définir l’art mais seulement des sous-catégories comme la musique, la sculpture, les installations, les performances, etc. -/- Nous présenterons les avantages et les inconvénients principaux des théories contemporaines. Nous verrons qu’aucune n’est dénuée de problèmes, expliquant pourquoi il n’existe pas de consensus sur une définition de l’art aujourd’hui. Nous verrons également que – à l’exception d’un certain scepticisme qui jette, semble-t-il, trop vite l’éponge – chacune de ces théories amène, par son originalité, à une compréhension nouvelle et plus profonde de cette notion extrêmement complexe qu’est le concept « Art ». (shrink)

Against the Artists. Jun'ichirō Tanizaki and the Man of Art. -/- This essay explores the concepts of "art" (gei) and "man of art" (geinin) in Tanizaki's works. These two notions belong to an ancient Japanese aesthetic tradition. The concept of 'gei' means "realization", "skill", but also "technique" and "ability". Traditional stage performances such as 'nō', 'kyōgen', 'bunraku', 'kabuki', are typical examples of 'gei'. On the other hand the concept of 'geinin' implies three pivotal aspects: 1) a strict and harsh aesthetic (...) education; 2) an environment suitable to develop the man of art's sensitivity; 3) a long process of emotional maturation. This perspective, according to this paper, sheds light on the peculiar Japanese aesthetic "difference" in relation to the concepts of art and artist developed - on the contrary - in Western tradition. (shrink)

This philosophical meditation on the issue of the restitution of African art objects stolen during colonisation explores new meanings of contemporary aesthetics in Africa: the radical openness of consciousness towards the present, the absolute value of the living over the creations of the mind, the transcendence of intelligence and freedom over History...

Celebrated as the equal to the great philosophers of old, namely Plato and Aristotle, whom – as Cassiodorus put it – he taught to speak Latin better than they spoke Greek, Boethius aspired to fully emancipate Roman culture from its Greek models through translations and exegesis so faithful they would leave nothing more to be desired from the original. The essay focuses on Boethius philhellenism, without complexes insofar as it had little to do either with the mixed feelings of his (...) Roman predecessors or with the plundering agenda of his Christian contemporaries. Special attention is paid to the close relationship Boethius established between word for word translations and multi-layered commentaries which he thought of and – albeit partially – carried out as part of the same scholarly endeavour. Devoid of literary pretentions as well as free from aspirations to autonomy, Boethius literal rendering and scrupulous interpretation were meant to be completely self-sufficient. Together they stand out as both the most innovative and the most conservative features of his ambitious cultural project. -/- Célébré comme l’égal des grands philosophes du passé, auxquels il aurait appris à parler Latin mieux qu’ils ne parlaient Grec, Boèce a caressé le rêve d’une émancipation radicale de la culture romaine vis-à-vis des modèles grecs qu’il se proposait de traduire et interpréter assez fidèlement pour que la comparaison avec les sources ne soit plus nécessaire. De son effort de livrer un Aristote et un Platon latins à la hauteur des originaux grecs, nous étudions l’étroite solidarité qui relie la traduction mot-à-mot des textes grecs et la restitution scrupuleuse de leur sens. Cette double tâche, que Boèce a conçue et menée d’un seul tenant, nous est dès lors apparue comme le reflet d’un philhellénisme sans complexes, tout aussi éloigné des sentiments ambivalents que nourrissaient vis-à-vis des hellènes ses devanciers romains que des efforts visant à domestiquer l’héritage classique auxquels se livraient certains de ses contemporains de même confession que lui. Affranchis de tout rêve d’autonomie, les traductions et les commentaires de Boèce se conçoivent comme parfaitement autosuffisants. Ensemble ils constituent ce qu’il y a à la fois de franchement novateur et de profondément conservateur dans son projet de faire parler Latin les sources grecques. (shrink)

This paper is an attempt to bring together the convergent elements in J.L. Austin’s and Paul Ricoeur’s philosophies of language. Though a number of studies have already claimed that Ricoeur has in some ways been influenced by Austin, to date, not a single study has been made that exclusively focuses on the interrelatedness between Austin’s and Ricoeur’s philosophies of language. Thus, in this paper, I will start with a general exposition of the philosophical connection between Austin and Ricoeur. I will (...) then show how Austin and Ricoeur define and also understand the nature of words, the central component of every language. I will next explore the interplay of meaning and hermeneutics through a detailed discussion of the Speech Acts Theory (Austin) and the Hermeneutics of Symbols (Ricoeur). Afterward, I will argue that in Austin and Ricoeur, words, meaning, and hermeneutics constitute the art of making sense of things and of interpreting certain aspects and features of language. (shrink)

I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...) la fenomenologia e la filosofia dell’arte. Arricchendosi di una riflessione sul rapporto con il pensiero, l’indagine sull’immagine sonora si declina in tre momenti distinti: il suono con un fondamento d’immagine in cui l’elemento fondante è dato dalla presenza dell’immagine nel suono; il suono e l’immagine che si equivalgono orizzontalmente fondendosi l’uno con l’altra; l’immagine con un fondamento sonoro, in cui si rintracciano presenze sonore nell’immagine visiva. (shrink)

This work is about the philosophical aspects of Giovanni Urbani‟s thought, that is those reflections which constantly refer to Martin Heidegger‟s philosophy. The interest in these theoretical aspects doesn‟t stem from the necessity to determine whether Urbani has correctly understood the heideggerian lectio, but rather from a necessity of thought; the necessity to explain, in an originary way, how that particular kind of knowledge that develops through the experience of conservation is able to enrich and make speculative activity more fruitful. (...) Urbani‟s research, indeed, seems to find answers where the philosopher‟s thought stops, drifting toward mysticism. Thus the present work underlines the peculiar and original way Urbani understands Heidegger‟s lesson, starting just from the point where the theoretical aspects of their reflections start to diverge, and the idea that the conditions to build a new man and a new model of rationality are to be found within science substitutes the heideggerian waiting for the new coming of the Sacred, which is to happen in poetry: the knowledge and experience of conservation become the testing ground of this research, to which the duty to produce an «advance in civilization» has been entrusted. (shrink)

The paper follows the thesis, that the perception of real or virtual media shares the anthropological state of "Ausdruckswahrnehmung" or perception of expression (Ernst Cassirer). This kind of perception does not represent a distant, neutral point of view, but one that is guided by feelings or "vitality affects" (Daniel N. Stern). The prerequisites, however, for triggering these feelings/"vitality affects" are not recognizable objects or motifs, but rather their sensually evaluable “abstract representations” or their formal logical structures. In contrast to aesthetic (...) feelings, however, they affect not only our feelings of lust or unlust or our knowledge (formal aesthetics) but also our actions (semiotics). So, when I extend aesthetic experiences to semiotic effects, I will talk about vitality semiotics. This new concept is of consequence, because the thesis of the responsibility of the producer is based on these effects. This is to be carried out by analyzing and presenting the approach of the Bauhaus master Josef Albers. (shrink)

Abstract: The text considers “places” as a plot of conditions for the possibility for human existence, as interweavings of social, cultural, symbolic and material factors on which existence is nourished and which, at the same time, it transforms. Understanding vulnerability as an ontological characteristic of human beings, “taking care” therefore should be considered as the practical disposition to respond to the “event of place” moving towards an increase in being and good. Moreover, in the sphere of healthcare practice, treatments should (...) be included in this broader perspective. This means that the treatment places become understood in reference to the overall conditions that promote health. The result is also a different self-understanding of medicine. (shrink)

Au-delà des fonctions cathartique, morale et épistémique que véhiculent les représentations esthétiques de la catastrophe, quel sens cette esthétique prend-elle pour l’être humain ? Et de quelle manière éclaire-t-elle l’expérience que fait l’être humain du monde ? Ces questions exigent l’examen des fondements phénoménologiques de l’expérience esthétique de la catastrophe. Nous examinons la distinction entre l’expérience esthétique classique du beau et l’expérience du sublime théorisée par Edmund Burke, qui questionne la dimension morale de l’art et repense ses composantes émotionnelles. En (...) éclairant l’aspect intimement anthropologique de l’expérience esthétique de la catastrophe, nous soutenons que cette dernière nous en apprend davantage sur le sujet humain plutôt que sur les catastrophes elles-mêmes. L’esthétique de la catastrophe répondrait à la détresse d’une humanité anxieuse de ne pouvoir repousser toutes éventualités catastrophiques en tenant métaphoriquement ces dernières à distance. (shrink)

This book tells the story of modern ethics, namely the story of a discourse that, after the Renaissance, went through a methodological revolution giving birth to Grotius’s and Pufendorf’s new science of natural law, leaving room for two centuries of explorations of the possible developments and implications of this new paradigm, up to the crisis of the Eighties of the eighteenth century, a crisis that carried a kind of mitosis, the act of birth of both basic paradigms of the two (...) following centuries: Kantian ethics and utilitarianism. The new science of natural law carried a fresh start for ethics, resulting from a mixture of the Old and the New. It was, as suggested by Schneewind, an attempt at rescuing the content of Scholastic and Stoic doctrines on a new methodological basis. The former was the claim of existence of objective and universal moral laws; the latter was the self-aware attempt at justifying a minimal kernel of such laws facing skeptical doubt. What Bentham and Kant did was precisely carrying this strategy further on, even if restructuring it each of them around one out of two alternative basic claims. The nineteenth- and twentieth-century critics of the Enlightenment attacked both not on their alleged failure in carrying out their own projects, but precisely on having adopted Grotius’s and Pufendorf’s project. What counter-enlightenment has been unable to spell out is which alternative project could be carried out facing the modern condition of pluralism, while on the contrary, if we takes a closer look at developments in twentieth-century ethics or at on-going discussions on practical issues, we might feel inclined to believe that Grotius’s and Pufendorf’s project is as up-to-date as ever. -/- Table of Contents -/- Preface I. Fathers of the Reformation and Schoolmen 1.1. Luther: passive justice and the good deeds; 1.2. Calvin: voluntarism and predestination; 1.3. Baroque Scholasticism; 1.4. Casuistry and Institutiones morales -/- II Neo-Platonists, neo-Stoics, neo-Sceptics 2.1. Aristotelian, neo-Platonic, neo-Epicurean and neo-Cynic Humanists; 2.2. Oeconomica and the art of living; 2.3. Neo-Stoics; 2.4. Neo-Sceptics; 2.5. Moralistic literature -/- III Neo-Augustinians 3.l. The Jansenists on natura lapsa, sufficient grace, pure love; 3.2. Nicole on the impossibility of self-knowledge; 3.3. Nicole on self-love and charity; 3.4. Nicole against civic virtue, for Christian civility; 3.5. Malebranche on general laws and necessary evil; 3.6. Malebranche on Neo-Augustinianism and Platonism. -/- IV Grotius, Pufendorf and the new moral science 4.1. Grotius against Aristotle and the sceptics; 4.2. Mersenne and Gassendi; 4.3. Descartes on ethics as the last branch of philosophy’s tree; 4.4. Hobbes on scepticism and the new moral science; 4.5. Spinoza on the new moral science as a descriptive science;4.6. Locke on voluntarism and probabilism; 4.7. Pufendorf on natural law as an exact science; 4.8. Pufendorf on physical and moral entities; 10. Pufendorf on self-preservation -/- V The empiricist version of the new moral science: from Cumberland to Paley 5.1. Cumberland against Hobbesian voluntarism; 5.2. Cumberland and theological consequentialism; 5.3. Cumberland on universal benevolence and self-love; 5.4. Shaftesbury on the moral sense; 5.5. Hutcheson on natural law and moral faculties; 5.6. Gay, Brown, Paley and theological consequentialism. -/- VI The rationalist version of the new moral science: from Cudworth to Price 6.1. The Cambridge Platonists; 6.2. Shaftesbury on the moral sense; 6.3. Butler and a third way between voluntarism and scepticism; 6.4. Price and the rational character of moral truths; -/- VII Leibniz’s compromise between the new moral science and Aristotelianism 1.Leibniz against voluntarism; 2.Leibniz against the division between the physical and the moral good; 3.Leibniz on la place d’autrui and theological consequentialism; 4.Thomasius, Wolff, Crusius -/- VIII French eighteenth-century philosophers without the new moral science 8.1. The genealogy of our ideas of virtue and vice; 8.2. Maupertuis and moral arithmetic 8.3. The philosophes and the harmony of interests; 8.4. Rousseau on corruption, self-love, and virtue; 8.5. Sade on the merits of vice -/- IX Experimental moral science: Hume and Adam Smith 9.1. Mandeville’s paradox; 9.2. Hutcheson on the law of nature and moral faculties; 9.3. Hume on experimental moral philosophy and the intermediate principles; 9.4. Hume’s Law; 9.5. Hume on the fellow-feeling; 9.6. Hume on natural and artificial virtues and disinterested pleasure for utility; 9.7. Adam Smith’s anti-realist metaethics; 9.8. Adam Smith on self-deception and the paradox of happiness; 9.9. Adam Smith on sympathy and the impartial spectator; 9.10. Adam Smith on the twofold criterion for moral judgement and its paradox; 9.11. Reid on the refutation of scepticism and the self-evidence of duty -/- X Kantian ethics 10.1. Kantian metaethics: moral epistemology; 10.2. Kantian metaethics: moral ontology; 10.3. Kantian metaethics: moral psychology; 10.4. Kantian normative ethics; 10.5. Kant on the impracticability of applied ethics; 10.6. Kantian moral anthropology; 10.7. Civilisation and moralisation; 10.8. Theology on a moral basis and the origins of evil; 10.9. Fichte and the transformation of theoretical philosophy into practical philosophy XI Bentham and utilitarianism 11.1. Bentham’s linguistic theory; 11.2. Bentham’s moral ontology, psychology, and theory of action; 11.3. The principle of greatest happiness; 11.4. The critique of religious ethics; 11.5. The new morality; 11.6. Interest and duty; 11.7. Virtues; 11.8. Private ethics and legislation -/- XII Followers of the Enlightenment: liberal Judaism and Liberal Theology 12.1. Mendelssohn; 12.2. Salomon Maimon; 12.3. Haskalā and liberal Judaism; 12.4. Liberal Theology. -/- XIII Counter-Enlighteners 13.1.Romanticism and the fulfilment of individuality as the Summum Bonum; 13.2. Hegel on history as the making of liberty; 13.3. Hegel on the unhappy consciousness and the beautiful soul; 13.4. Hegel on Morality and Sittlichkeit; 13.5. Marx on ideology, alienation, and praxis; 13.6. Schopenhauer on compassion; 13.7. Kierkegaard on faith beyond ethics. -/- XIV Followers of the Enlightenment: intuitionists and utilitarian 14.1 Whewell‘s criticism of utilitarianism; 14.2 Whewell on morality and the philosophy of morality; 14.3 Whewell on the Supreme Norm; 14.4 Whewell on the conflict between duties; 14.5 Mill and the proof of the principle of utility; 14.6 Mill’s eudemonistic utilitarianism; 14.7 Mill on rules -/- XV Followers of the Enlightenment: neo-Kantians and positivists 15.1. French spiritualism; 15.2. Neo-Kantians: the Marburg school; 15.3. Neo-Kantians: the Marburg school; 15.4. Comte’s positivism and the invention of altruism; 15.5. Social Darwinism; 15.6. Wundt and an ethic of humankind -/- XVI Post-enlighteners: Sidgwick 16.1. Criticism of intuitionism; 16.2. On ethical egoism; 16.3. Criticism of utilitarianism -/- XVII Post-enlighteners: Durkheim 17.1. Sociology as physics of customs; 17.2. Morality as physics of customs and as practical science; 17.3. On Kantian ethics and utilitarianism; 17.4. The variability of moralities;17.5. Social solidarity as end and justification of morality; 17.6. Secular morality as “sociodicy”; XVIII Post-enlighteners: Nietzsche 18.1. On the Dionysian; 18.2. On the deconstruction of the world of values 18.3 On the twofold genealogy of moralities; 18.4. On ascetics and nihilism; 18.5. Normative ethics of self-fulfilment -/- Bibliography / Index of names / Index of concepts -/- . (shrink)

The paper discusses problems related to historical change in the field of technology applied to the preservation and communication of knowledge. Debates of the years 1990s about the possible decadence of (printed) books in favour of other technologies, are evaluated with the help of a historical analogy. The art of memory was a widespread non-material technique for managing information in a world of prevalent oral communication, which was set aside by the new technologies of printed communication. In the first part, (...) the Author discusses the final phase in the history of the art of memory, sketching Lambert Schenckel’s biography as a good example of utmost individual success in the teaching of the art. Schenckel’s time sees the maximum demand for teaching in the art of memory; nevertheless those are the years when the printed book has already completely won its battle. The second part regards the possibility of a survival of the book as a technological model (i.e. as a model to build applications in new technologies for knowledge communication), notwithstanding the technologies involved in its production, just as the art of memory has been recently used as a model for constructing hypermedia, and just as the book itself survived technological revolutions in past ages. The issue is discussed carefully avoiding to engage in prophecy. (shrink)

« Ce petit livre est un bijou d’intelligence, de finesse, de culture, qui prend un objet technique sans rechigner et le tourne et le retourne comme Heidegger nous avait appris à le faire avec les chaussures de Van Gogh. Ce qui frappe, c’est l’ambition d’une méditation sur les cartes de la modernité contemporaine, sur le fameux Grand Paris, sur le sujet, sur le pluriel, sans les faux-fuyants du postmoderne, de la citation absurde. Luis de Miranda se promène, il vous conte (...) qu’il se promène, mais il vous mène avec une grande maîtrise et sait où il veut aller. Rien de gratuit dans cette rencontre de l’enseigne de kebabs sur la table de dissection de la Ville Néon. C’est plutôt une nouvelle méditation cartésienne après Descartes et Husserl : où le poêle et sa chaleur ont fait place au bruit vrillant du gaz dans un tube. Je suis, je crée, donc j’entends. » Yann Moulier-Boutang, ancien élève de l’ENS, professeur agrégé d’économie à l’université de technologie de Compiègne, directeur de la revue Multitudes. Né d’une rencontre inopinée avec un néon sur le quai du Louvre, ce livre a été composé à partir d’un séminaire donné par l’auteur à l’hiver 2012. Un voyage inspiré à travers la nuit, qui déchiffre les halos du passé et les reflets du présent pour donner à entendre une certaine magie du futur. Luis de Miranda, philosophe, romancier, révélateur du créalisme, est notamment l’auteur d’un essai remarqué, L’art d’être libres au temps des automates (Max Milo, 2010). (shrink)