Fred Polak’s futurology takes up where F. W. Schelling’s claims about the ‘modern mythology’ leaves off. Linking these, I argue Art and humanity’s joint meaning crisis originates in ‘symbolic idealism’, de-futurising both and crippling humanity’s attempts to develop a proper internal ‘narrative order of goods’ needed for our survival. Polak’s tracing of how various forms of Expressionism emerged from Impressionism in later modernism, transforming our images of reality and the future, vindicates Schelling’s earlier claims that our symbolic mode of ‘worlding’ (...) creates a materially positivistic idea of progress. And our modern repurposing of art has produced what Polak calls a disorienting ‘false and deluded realism’ partly responsible for the counter-utopian, post-humanist tendencies prevalent today in both the East and West. (shrink)

Following C. S. Peirce’s claim that aesthetics precedes ethics and logic, I argue for reconceiving aesthetics as a normative science. The deteriorated relations between these links in the ‘modern mythology’ is associated with art’s decline and apparent indistinguishability from the ‘general aesthetic’ (aided by ‘aesthetics as theory’). ‘Naturalizing’ art, according to F. W. Schelling’s system, is proposed to ameliorate this. Bringing together Peircian semiotics with Schelling’s ‘process metaphysics’ suggests how to restore the historicized split between Art ‘as principle’ and the (...) Person (two ‘perfect signs’) by attending to the ‘ethical phenomenology’ of artworks. An argument is then made for how modern ethics and ‘morals’ may be reconnected. (shrink)

The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...) the relevance of Schelling’s aesthetics to resolving humanity’s long-standing ethical problems has been neglected. In this paper, I begin by framing Schelling’s view on religion, contextualising his ontological, cosmological approach to art. I then argue why his ‘dialectical aesthetics’, grounded in ‘process metaphysics’, presents a radical advance on Kant’s and Hegel’s ‘reflective’ standpoint featured in our dominant theoretical aesthetic paradigm (causing art’s sharpest decline via the evolving ‘modern’ suppression of metaphoric thinking by ‘symbolic idealism’, at the heart of our ‘worlding’ problems). Then, showing how Schelling’s Principle of Art leads us archetypally back to the normative sciences, I argue redirecting the self-destructive modern mythology means reorienting ‘final cause’ in our narratology. And why this firstly requires distinguishing proper metaphor from the symbolic constructions common in ‘conceptual art’. (In a subsequent paper, Schelling’s Art ‘in the Particular’ will be revealed to offer the practical application of his Principle to any artforms/works ‘for all time’ in praxis, advancing my argument here for why his system offers a suitable framework for collectively re-worlding the world). (shrink)

F. W. Schelling’s Principle of Art returns us to an ancient epic sensibility, as argued elsewhere, laying the foundations for how we might reverse the ‘modern mythology’ at the core of humanity’s ecological/existential crisis. This paper advances that argument by examining Schelling’s systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (the Principle). This suggests how Schelling’s ‘affirming principles’ determine the (...) boundary conditions of his ‘mythological categories’, and how his generalities inform a ‘scientific sequence’ for explaining the features of the Formative and Verbal arts. I examine these in detail in various artforms, and how they resolve key difficulties (eg., appearance/reality, form, intentionality, and purpose) for assessing art’s higher meaning-value directionality. My analysis reveals why phenomenology is key to understanding meaning in art, and ultimately why we arrived at the problematic modern ‘epic’ reversal of ancient universalising, focusing our attention on means over ends (‘final causes’) in art-making/admiring. By explaining the practical application of the Principle-in-action, in constructing/assessing any artforms/works ‘for all time’ in terms of meaning-value, I expand on my earlier argument that Schelling’s ‘dialectical aesthetics’ presents a radical advance on Kant’s. And, in the process, I suggest why our dominant mythological approach to Literature, Drama, and even fundamental conceptions of Tragedy and Comedy begs revision. My conclusion summarises what shifts in our attendance to the art object Schelling’s system demands, to reverse our unrealistic mythological orientation. Why his Philosophy of Art offers a suitable framework for collectively re-worlding the world, becomes clear in praxis; revealing the need to change practices, traditions, and institutions, in order to advance a New Mythology. (shrink)