This paper provides arguments for and against M.Lotman’s (2002) contention that Y.Lotman’s seminal concept of semiosphere is of post-modernist (post-structuralist; Posner 2011) orientation. A comparative reading of the definitional components of the semiosphere, their hierarchical relationship and their interactions is undertaken against the two principal axes of space and subjectivity in the light of Kantian transcendental idealism, as inaugural and authoritative figure of modernity, the Foucauldian discursive turn and the Deleuzian (post) radical empiricism (sic), as representative authors (...) of the highly versatile post-modernvernacular. This comparative reading aims at highlighting not only similarities and differences between the Lotmanian conceptualization of the semiosphere and the concerned modernist and postmodernist authors, but the construct’s operational relevance in a post-metanarratives cultural predicament that has been coupled with the so-called spatial turn in cultural studies (Hess- Luttich 2012). (shrink)

Describes the return to a new classical style within art and architecture. Includes 350 illustrations of paintings, sculpture, and architecture.

A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".

As a grand narrative of progress, the utopian project of modernity is primarily concerned with notions of rationalism, universalism, and the development of a metalanguage. The triumph of the Moderate Enlightenment has seen logics of domination, accumulation and individualism incorporated into the project of modernity, with these logics giving rise to globalised capitalism as the metalanguage of modernity and neoliberal economics as the grand narrative of rational progress. The project of modernity is all but complete, requiring only the formality of (...) an end. However, rather than utopia, the foreseeable endpoint of modernity is environmental collapse, with neoliberal economics also serving as a grand narrative of environmental destruction. As an anti-modern response, postmodernism has been a triumphant failure. While there is much to be gained from the postmodern critique of modernity, its incredulity towards metanarratives has left it incapable of forming an adequate response to modernity, especially in regards to action on climate change. Postmodernism is better characterized as a crisis located within modernity itself and it will be argued that rather than the pursuit of the modern or the post-modern, we need to re-imagine ourselves as proto- historical to overcome the impasse of late-capitalism. (shrink)

The 20th century was characterized by a radical paradigm shift from modernism to postmodernism. Postmodernism rejected the stances of objectivism, universalism and the construction of meta-narratives that were evident in the modern epoch. Postmodernism re-affirms subjectivism, perspectivism and particularism in knowledge attribution, acquisition and justification. Postmodernism therefore dethrones positivism, radical empiricism and all their objectivistic scientific edifices. Post-modernism has its roots in post-colonialism, de-colonialism and the agitations for racial and gender justice. This academic masterpiece used critical (...) historical analysis, critical hermeneutics, decolonial and postcolonial criticism to situate postmodernism as an emancipatory philosophy of method that safeguards marginalized modes of knowledge in the South from the epistemicide of Western Positivism. The paper analytically illuminated that postmodern epistemological ethos leads to the emergence of post-positivism in the natural sciences and interpretivism in the humanities and social sciences by propagating deconstructionist and emancipatory multi-disciplinary methodologies such as critical discourse analysis, phenomenological interpretation, critical race theory and critical gender theory. This paper further argued that multi-disciplinarity and trans-disciplinarity are inevitable constellations of the eminent emergency of the postmodern epoch. The paper adds to knowledge by painstakingly contending that postmodernism entrenches situated knowledge and multidisciplinary methodologies that are equally valid, reliable, cogent and credible. (shrink)

This paper elucidates and illuminates the notion of post colonialism and post-modernism as an epitome upon which discourse on development related issues in the post-colonial world is premised. Secondly, the paper situates the emergence post colonial critical perspectives generally using development in the South as a point of reference. The paper specifically focuses on feminist postcolonial critical perspectives on gender, race and class. Accordingly, the paper explicates the implications of intersectionality on the development discourse in (...) the South and its multiplicative (not additive) effects on gender discrimination, women subordination and women agency with particular reference to the feminization of work and allocation of resources. The paper then looks at the indispensability of the intersectional methodology in the understanding of development related issues in the South before concluding accordingly. It ought to be born in mind that the paper envisages the North and South in terms of the Brandt commission(Klaus, 2002,p.5) demarcation or description but does not only look at the South in terms of territorial cartographies but also social ones(Robinson, 2002) as well in the sense that South race connections will greatly contributetothe marginalisation of Southerners or people of colour even if there are territorially situated in North for various reasons such as migration, slavery etc. (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. (...) This meta-project does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

The delusory quest for disembodiment, against which the quest for re-embodiment is reacting, is characteristic of macroparasites who live off the work, products and lives of others. The quest for disembodiment that characterizes modernism and postmodernism, it is argued, echoes in a more extreme form the delusions on which medieval civilization was based where the military aristocracy and the clergy, defining themselves through the ideal forms of Neo-Platonic Christianity, despised nature, the peasantry and in the case of the clergy, (...) women. This argument is used to expose and reveal the oppressive and ecologically destructive drive underlying the aspirations of the dominant classes in the modern/postmodern world to disembodiment, whether this be seen as the quest to be unbounded by time and place, to be free of dependence on labour and natural resources, to be free of the humdrum of everyday life by entering ‘virtual’ worlds, or, as with post-humanists, to overcome the limits of the body by fusing with technology. These modern and postmodern forms of the quest for disembodiment, it is suggested, now threaten civilization, the future of humanity and most terrestrial life. This analysis is used to clarify the liberating mission of the grand narrative for re-embodiment, exemplified by the quest for Inclusive Democracy, Earth Democracy, Ecological Civilization, or for an Ecozoic Age. The grand narrative of the Age of Re-embodiments is shown to be inseparable from the struggle for truth, justice and liberty as central to real democracy empowering people to augment rather than undermine the conditions for life. (shrink)

The paradox of 'the One and the Many' might, more generally, be understood as the paradox of relationship. In order for there to be relationship there must be at least two parties in relation. The relation must, at once, hold the parties apart (otherwise they would collapse into unity) while holding them together (otherwise relationship itself would cease). It must do so, further, without itself becoming a third party which would then, itself, need to be related. This paper considers this (...) paradox as we find it manifest in the theories of quantum physics, the Socratic pursuit of universals, and, finally, at the very heart of human personhood - where we discover it at the core of interpersonal relationships, existential anxiety, and social distress. It is suggested, in the end, that though reason cannot resolve the terms of this paradox, there is a potential solution to the existential problems that spring from it, a solution lying in what Jesus calls, simply, 'faith.'. (shrink)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...) This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

This article offers a review of Richard Rorty’s attempts to come to terms with the role of religion in our public and intellectual life by tracing the key developments in his position, partially in response to the ubiquitous criticisms of his distinction between private and public projects. Since Rorty rejects the possibility of dismissing religion on purely epistemic grounds, he is determined to treat it, instead, as a matter of politics. My suggestion is that, in this respect, Rorty’s position is (...) best construed as that of a humanist rather than a post-modernist. Ultimately, it appears that, in his view, the positive element of religion—i.e. the idea of religion as a social gospel—has been absorbed and transformed into a utopian striving which humanists associate with the ideal of democracy. Hence, in this regard, religion can be considered obsolete. Yet, without explicitly invoking the usual epistemic grounds, Rorty’s arguments for excluding religion from the public sphere remain rather thin, and an interest in reforming rather than excluding religion would have been more consistent with his general outlook. (shrink)

A striking feature of post-modernism is its distrust of the subject. If the modern period, beginning with Descartes, sought in the subject a source of certainty, an Archimedian point from which all else could be derived, post- modernism has taken the opposite tack. Rather than taking the self as a foundation, it has seen it as founded, as dependent on the accidents which situate consciousness in the world. The same holds for the unity of the subject. (...) Modernity, in its search for a single foundation, held the subject to be an indissoluble unity. Post-modernism’s position, by contrast, is announced by Nietzsche: “The assumption of one single subject is perhaps unnecessary; perhaps it is just as permissible to assume a multiplicity of subjects, whose interaction and struggle is the basis of our thought and our consciousness in general? ...My hypotheses: The subject as multiplicity.” Given this, there is a natural correspondence between the success of post- modernism and the current interest in multiple personality disorder. In the latter, we actually have the experience of a “multiplicity of subjects” in their interaction and struggle. The subject stands there before us “as multiplicity.” It gives us a concrete case, one which raises some of the pressing questions associated with the post-modern denial of the subject. Confronting it, we ask: how real are the personalities composing the multiplicity of this disordered self? What, in fact, does this multiplicity tell us about the self? about its genesis and status? What does it reveal about “our thought and consciousness in general”? I plan, in the short compass of this paper, to sketch some answers to these questions. §1. A brief description of MPD. The American Psychiatric Association gives two criteria for (MPD) multiple personality disorder. First, and most obviously, there is “the existence within the person of two or more distinct personalities or personality states (each with its own relatively enduring pattern. (shrink)

Finding truth is an art that was learned and unlearned. Truth can only be found by looking for independent confirmation of our beliefs, by reality. This methodology is difficult to apply in personal- and social settings, because power and politics turn 'seeking independent confirmation' into 'avoiding dependent rejection'. A completely different social order is implied and the one keeps running the other into the ground like a tectonic plate. Philosophical Modernism showed us how dualism works, before Post-Modernism (...) challenged it, regressing to monism. (shrink)

In a beautiful recent essay, the philosopher Walter Sinnott-Armstrong explains the reasons for his departure from evangelical Christianity, the religious culture in which he was brought up. Sinnot-Armstrong contrasts the interpretive methods used by good philosophers and fundamentalist believers: Good philosophers face objections and uncertainties. They follow where arguments lead, even when their conclusions are surprising and disturbing. Intellectual honesty is also required of scholars who interpret philosophical texts. If I had distorted Kant’s view to make him reach a conclusion (...) that I preferred, then my philosophy professor would have failed me. The contrast with religious reasoning is stark. My Christian friends seemed happy to hide serious problems in the Bible and in their arguments. They preferred comfort to intellectual honesty. I couldn’t. To what extent can we, historians of philosophy, claim the virtue of intellectual honesty? Speaking frankly, I do not find the practice criticized by Sinnot-Armstrong’s philosophy professor rare or unusual at all. We very frequently distort the views of past philosophers in order to reach the conclusions we prefer. We just call it “Charitable Interpretation.” In this essay, I discuss and criticize the logic behind so-called charitable interpretations in the history of philosophy. This phenomenon is ubiquitous and is not at all restricted to a particular philosophical strand or ideology. Analytic philosophers and post-modernists, Marxists, liberals, secularists, and fundamentalists, we all engage in the very same domestication project. Even more disturbing than the sheer ideological pervasiveness of this phenomenon is the fact that, on many occasions, superb philosophers and historians take part in this fairly childish endeavor. In the first part of this essay, I discuss the general logic of charitable interpretations in the history of philosophy, mostly by addressing discussions in metaphysics and epistemology. In the second part, I focus on the somewhat less noticed use of charitable interpretations in the study of political philosophy, and point out the quintessential role ideology plays in these discussions. In both parts, I concentrate mostly on the interpretation of Spinoza’s thought. I do so not because I have special fondness for Spinoza (“guilty as charged,” I admit), but because Spinoza is such a beast (and may I add, an enchanting beast) and attracts a disproportionate share of the domestication efforts from historians and philosophers of all creeds and persuasions. In the third and final part of the paper, I will begin to outline an alternative methodology, which suggests that past philosophers can be most relevant to our current philosophical discussion, to the extent that they provide us with well-motivated challenges to our common-sense beliefs. Such challenges have the invaluable virtue of being able to undermine our most fundamental and secure beliefs, and force us to engage with the most fundamental questions. What more can we expect from good philosophy? (shrink)

This article examines the controversy that has arisen concerning the interpretation of Immanuel Kant's account of European colonialism. One the one hand there are those interpreters such as Robert Bernasconi who see Kant's account as all of a piece with his earlier views on race which demonstrate a certain narrow mindedness in relation to black and coloured people and, on the other hand, there are those such as Pauline Kleingeld and Allen Wood who argue that the earlier writings on race (...) are not wholly typical of Kant's approach and suggest that Kant's later discussions of colonialism in Perpetual Peace and the Metaphysics of Morals provide a better indication of Kant's progressive views on the treatment of non-European societies. The article draws attention to the very strong evidence of Kant's dislike for the pattern of European expansion to other parts of the globe and indicates that within Kant's writings there are the seeds of a wholly unconventional critical understanding of western colonialism that have yet to be developed fully. The article suggests that this critical understanding surpasses the unsystematic objections made to colonialism in post - modernist thought and also the critique proffered by the determinist Marxist account. (shrink)

Despite Lyotard’s proclaimed end of metanarratives in a post-modern predicament, metanarratives appear to be making a comeback. This is the case for antinatalism, a relatively recent ideological formation or moral philosophical perspective that has spawned a new social movement with an active presence in social media. The organizational and structural aspects of NSMs render them amenable to being labeled as ‘post-modern’. In this context, the emergence of ideologies as moral philosophies, such as antinatalism, loom like an outsider, or (...) like a retro fissure in a plastic canvass. The reason is that antinatalism shares the holistic, fundamentalist and totalizing discursive traits of modernist metanarratives that were heralded by Lyotard (1984) as being outmoded in a post-modern condition. Yet, this metanarrative is also different in fundamental aspects from traditional metanarratives. These aspects pertain to its rhetorical self-reflexivity and to its pre-occupation with rooting the propounded arguments in empirical particulars, rather than in a metaphysical or transcendentalist realm. This new form of metanarrative I call metametanarrative as it constitutes a philosophical regression, so to speak, in a pre post-modernist cultural milieu. (shrink)

The idea this article relies on is that we should rethink cultural distance between modernism and post-modernism. We can no longer support the thesis of a radical break between the two cultural periods since many of the changes that have marked our contemporary world were initiated or at least announced in the modern period. Besides the cultural and epistemic factors, the socioeconomic conditions have also contributed to shape a new sensitivity and a new outlook. One of the (...) major contributions to this change was the replacement of the epistemic pedestal - oriented toward the metaphysical knowledge of the world - with a kind of knowledge inspired by the model of sciences which determined the understanding of the world as a „standing-reserve" (Heidegger). Thus, we speak about a techno-world, which is not merely a consequence of our way of interacting with our fellow beings or the environment. It is also a consequence of our wayof creating reality. The post-humanist approach of the man - similarly to modern utopias - considers technology the main means of improving human condition. Furthermore, we need to see in post-humanism the hope of rethinking humanity in a world growingly devoid of spiritual values. (shrink)

By definition, “logic of postmodernism" would appear to be a contradiction in terms: philosophic post¬modernism emerged as a critique of attempts to found philosophy on some principle of reasoning and to found reasoning on some formal guidelines for how we ought to think. Nonetheless, there are two reasons why Charles Sanders Peirce (1839-1914) ought to be labeled the logician of postmodernism — the philosopher who, more than any other, etched out the normative guidelines for postmodern thinking. The first (...) reason is that Peirce attempted to accomplish the impossible, or at least the contradictory. He launched his philosophic career with a logical critique of "Cartesianism" — his label for the modernist attempt to found philosophy on some formal principles of reasoning. He then attempted to replace the principles of Cartesian reasoning with a set of anti-modernist principles that proved themselves to be as modernist as their contraries. The second reason for giving Peirce his label is that his failures to accomplish the impossible engendered in him something he was unable to achieve willfully: a habit of self-critical yet self-affirming thinking that was neither modernist nor anti-modernist but, rather, a disciplined variety of postmodern thinking. In his later years, Peirce began to sketch out the principles of philosophic postmodernism by describing features of his own emergent habit of thinking. This sketching comes close enough to what I would label a logic of postmodernism — where the method of logic is as postmodern as the thinking it describes. (shrink)

This brief monograph was written in an attempt to discover the general situation of Disability Studies, given that this appears to have become a growth area in academia with various typically illiberal aspects. The findings bear out the initial impression. There is a style of argument, even propaganda (for there is usually little genuine engagement with opposing liberal views), that can be seen in many other areas of academia. It amounts to a relatively new ‘progressive’ industry with various fashionable keywords, (...) phrases and ideologies—often not obviously related to disabilities in any serious way—indicating the nature of the beast: ‘progressive’, ‘radical’, ‘oppression’, ‘bourgeois’, ‘empowerment’, ‘rights’, ‘equal opportunities’, ‘discrimination’, ‘prejudice’, ‘citizenship’, ‘social justice’, ‘socially constructed’, ‘Marxism’, ‘Post Modernism’ and ‘Feminism’. The overall picture is that disability has become increasingly politicised along politically correct lines to the detriment of society as a whole and, eventually, even to the disabled themselves. This is largely caused by the endemic trahison des clercs in our tax-consuming and coercively monopolised university system. (shrink)

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a noncompellable spontaneity, (...) but one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined. (shrink)

This book presents the author’s many and varied contributions to the revival and re-evaluation of American pragmatism. The assembled critical perspective on contemporary pragmatism in philosophy emphasizes the American tradition of cultural pluralism and the requirements of American democracy. Based partly on a survey of the literature on interest-group pluralism and critical perspectives on the politics of globalization, the monograph argues for reasoned caution concerning the practical effects of the revival. Undercurrents of “vulgar pragmatism” including both moral and epistemic relativism (...) threaten the intellectual and moral integrity of American thought – and have contributed to the present sense of political crisis. -/- The text chiefly contributes to the evaluation of the contemporary influence of the philosophy of John Dewey (1859–1952) and his late development of the classical pragmatist tradition. In comparison to Ralph Waldo Emerson (1803–1882), William James (1842–1910), and earlier currents of American thought, Dewey’s philosophy, dominated by its overall emphasis on unification, is weaker in its support for the pluralism of cultural and religious contributions which have lent moral self-restraint to American policy and politics, both foreign and domestic. With all due homage to Dewey’s conception of philosophy, centered on human problems and the need for our ameliorative efforts, the argument is that in the contemporary revival, Dewey’s thought has been too often captured by “post-modernist” bandwagons of self-promotion and institutional control. -/- This work defends democratic individualism against more collectivist and corporatist tendencies in contemporary neo-pragmatism, and it draws upon up-to-date political analysis in defense of America’s long republican tradition. Pragmatism will not and cannot be removed from, or ignored, in American intellectual and moral history; and its influence on disciplines from law to politics, sociology and literary criticism has been immense. However, pragmatism has often been weak in commitment to cultural pluralism and in its accounts of truth. (shrink)

Based on the argumentative analysis, the essential title is interpreted within its entitle as it leaves bias open 'along the lines' as to whether the January 6th insurrection that took place on Capitol Hill was or was not justified or unjustifiably ‘so’ by Jean-Jacques Rousseau’s right to revolution. Detailed evidence to support and prove such intended thesis stretches this theoretical statement as it gambles to reckon with a central paradoxical and unhumored tone that leaves the reader and/or author’s perspective to (...) be ‘centered’ (and left due to a play of ‘centeredness’). As it pertains to the fallout and outcome of how governmental, national, and militaral leadership (given the reality of a sovereign leader or a reign). Presentational style is constructed or structured oddly awakes uncontrollable, uncensored, unmeasurable, and untouchable personification that is nonstop. Such series of quoted citations are pieces of instruction that serve to admire and of acceptability in pursuit of Rousseauian logic as it poses a modest figurative language where its main objective is to attempt to underline the principles and techniques that plague post-modernists within the scope of legislative, executive, or even judicial systems of functionalities. (shrink)

Wittgenstein comes up with his model simply through starting with the assumption that language can be an accurate picture of the world, and realizing the failings of that idea. This makes him a rather odd outsider in the sociology and politics of modern philosophy. He’s a trained engineer. A soldier. An architect. A logician (including being the guy who invented Truth tables for logic). In other words, a total geek. He’s still part of the analytic tradition, dismissed and rejected by (...) many in the continental tradition. But he ends up saying the kind of things that drive your average conservative culture warrior harrumphing about \"post-modernism\" and \"relativism\" up the wall. Simply because he’s thought about it a lot. -/- The other thing that’s striking is how much he is an \"anti-philosopher\". Always running away from philosophy to do other things in his life. And his work is often intended as \"therapeutic\" not trying to \"solve\" philosophical problems so much as \"cure\" us of worrying about them. He emphasizes that philosophical \"problems\" are often just misuses and misunderstandings of words rather than deeper issues. In his first philosophy, many problems come from us not understanding the meaning of the words well enough. If only we could pin them down better, the problems would disappear. In his second, the fact that we have a word for something doesn’t mean that the world really has that thing. And many philosophical problems, he asserts, are nothing but trying to take words that have a \"function\" in a particular context and abstract them out and using them in a different context where they have no useful function. (shrink)

Throughout history, suicide has evoked a remarkably broad range of reactions—from perplexity and condemnation, to glorification and empathy. Many have tried to understand this phenomenon through the lens of psychology, psychiatry, sociology, and anthropology, but much still seems to be amiss. A key factor in our current unprecedented mental health crisis is the undiagnosed impact of modernism and post-modernism; in other words, how has the loss of the sacred contributed to the present-day alienation from ourselves, each other, (...) and the earth? It is only through a fully integrated “science of the soul”—informed by metaphysics and the spiritual wisdom traditions of humanity—that we can, not only better understand suicide, but be properly equipped to avert tragic outcomes. (shrink)

From antiquity to date, communal clashes, inter tribal even to global crisis of war is antecedented by penetration of ill-will, unfair sharing formula of human and natural resources by a privileged few resulting in high social, economic and political acrimony hence, the growing calls to reframe the politics of poverty reduction and social protection in particular, in terms of extending the ‘social contract’ to the poorest groups as people are getting increasingly aware of injustice. This premise is on the widening (...) gap between the rich and poor on daily bases. With the increase of awareness, knowledge, technology and the advent of post-modernist era, the quest for social justice has heightened. Even communism and democracy attempt to offer social justice to its natives. Communism states that humans are free to engage in any kind of occupation and express ourselves freely without government interference, unlike the alienated labour society of the capitalist industry: this for communism is social Justice, while democracy thinks equality before law and power to its natives is social justice. All through the era of Philosophy, Philosophers differ on the definition, and what constitute social justice. Until now, there is no unifying explanation on what social justice is and consists of. This paper tends to look into the history of social Justice and different philosophers from different epochs. It also tried to expose the problems inherent in the definition and what constitute social justice, and cautioned that complimentary imperative should be employ to curtail human egoistic tendency that aids social injustice. (shrink)

It might, at first sight, seem objectionable to compare Kant and Rorty in terms of their respective irony, for two reasons. First, usually, irony is not considered to be a striking stylistic feature in Kant, whereas it is a key concept in Rorty´s political philosophy. Second, Rorty's liberal ironist is the prototype of the edified individual in post-modern civil society who has overcome metaphysics of both realms: nature and morals. It just is proposed as a remedy against all forms (...) of political foundationalism. However, in his minor political works of the 90s, Kant´s style is marked by his use of irony. Irony performs several functions: it is a polemic device, a means of persuasion, and a safeguard against those who might otherwise take his critical appreciation of political custom too personal. Moreover, Kant's political foundationalism is intertwined with his philosophy of history. Arguably, Kant treats the contingency of historic events with due regard and, hence, his political outlook must not be considered to be vindicatory. Irony, therefore, might, though seemingly un-Kantian at the outset, be a clue to the differences, and, perhaps, in contrast with Rorty´s distancing himself from Kant, similarities between their respective political philosophies. A comparison of Kantian with Rortian irony might thus reveal continuities and discontinuities in political thought between the European Enlightment and American post-modernism. It, therefore, might help to better understand our time. In my paper, I perform a contrastive analysis of these two faces of irony. The analysis starts with an interpretation of these two faces as different ways to cope intellectually with the vicissitudes of the human condition. Next, I relate their irony to the way both philosophers deal with the split between the private and the public spheres, which is, in different ways, central to their political philosophies. This analysis will provide the material for an assessment of whether or not their irony can be considered as an evasive move, which allows for a safe distance from the contingent needs of mankind, and thus prohibits or supports solidarity with its fate. (shrink)

-/- ABSTRACT: The concept of beauty has been central to the understanding of Aesthetics, but most modern scholars examine and celebrate Aesthetics presupposing that beauty exists in this Universe, and that by merely being patrons and proponents of art, they can exercise their metaphysical-value judgment however they feel is fulfilling. Contemporary artists fail to realize the etiology and phenomenological value of beauty. The perfect exemplification of this can be seen in the veritable themes and allegories of Postmodernism. The fetishistic penchant (...) of Post-structuralists and Post-modernists has made the treatment of art and literature destructively convoluted and obfuscated, and offers infinite leeway for analysis of any kind. The trite adage ''Kill the writer’’ has been grossly misused and misidentified. Having said that, this essay also does not aim to blindly ridicule Postmodernism, and It will be apparent from the tone of the essay that I myself subscribe to the incontrovertible absolutism that Postmodernism offers, but only in the sense of axiom and logic. I, however, do not value and extol the senseless plurality and verbosity of non-analytical assessment that is ubiquitously pronounced in Postmodern content. (shrink)

This paper centers on the implicit metaphysics beyond the Theory of Relativity and the Principle of Indeterminacy – two revolutionary theories that have changed 20th Century Physics – using the perspective of Husserlian Transcedental Phenomenology. Albert Einstein (1879-1955) and Werner Heisenberg (1901-1976) abolished the theoretical framework of Classical (Galilean- Newtonian) physics that has been complemented, strengthened by Cartesian metaphysics. Rene Descartes (1596- 1850) introduced a separation between subject and object (as two different and self- enclosed substances) while Galileo and Newton (...) did the “mathematization” of the world. Newtonian physics, however, had an inexplicable postulate of absolute space and absolute time – a kind of geometrical framework, independent of all matter, for the explication of locality and acceleration. Thus, Cartesian modern metaphysics and Galilean- Newtonian physics go hand in hand, resulting to socio- ethical problems, materialism and environmental destruction. Einstein got rid of the Newtonian absolutes and was able to provide a new foundation for our notions of space and time: the four (4) dimensional space- time; simultaneity and the constancy of velocity of light, and the relativity of all systems of reference. Heisenberg, following the theory of quanta of Max Planck, told us of our inability to know sub- atomic phenomena and thus, blurring the line between the Cartesian separation of object and subject, hence, initiating the crisis of the foundations of Classical Physics. But the real crisis, according to Edmund Husserl (1859-1930) is that Modern (Classical) Science had “idealized” the world, severing nature from what he calls the Lebenswelt (life- world), the world that is simply there even before it has been reduced to mere mathematical- logical equations. Husserl thus, aims to establish a new science that returns to the “pre- scientific” and “non- mathematized” world of rich and complex phenomena: phenomena as they “appear to human consciousness”. To overcome the Cartesian equation of subject vs. object (man versus environment), Husserl brackets the external reality of Newtonian Science (epoché = to put in brackets, to suspend judgment) and emphasizes (1) the meaning of “world” different from the “world” of Classical Physics, (2) the intentionality of consciousness (L. in + tendere = to tend towards, to be essentially related to or connected to) which means that even before any scientific- logical description of the external reality, there is always a relation already between consciousness and an external reality. The world is the equiprimordial existence of consciousness and of external reality. My paper aims to look at this new science of the pre- idealized phenomena started by Husserl (a science of phenomena as they appear to conscious, human, lived experience, hence he calls it phenomenology), centering on the life- world and the intentionality of consciousness, as providing a new way of looking at ourselves and the world, in short, as providing a new metaphysics (as an antidote to Cartesian metaphysics) that grounds the revolutionary findings of Einstein and Heisenberg. The environmental destruction, technocracy, socio- ethical problems in the modern world are all rooted in this Galilean- Newtonian- Cartesian interpretation of the relationship between humans and the world after the crumbling of European Medieval Ages. Friedrich Nietzsche (1844-1900) comments that the modern world is going toward a nihilism (L. nihil = nothingness) at the turn of the century. Now, after two World Wars and the dropping of Atomic bomb, the capitalism and imperialism on the one hand, and on the other hand the poverty, hunger of the non- industrialized countries alongside destruction of nature (i.e., global warming), Nietzsche might be correct: unless humanity changes the way it looks at humanity and the kosmos. The works of Einstein, Heisenberg and Husserl seem to be pointing the way for us humans to escape nihilism by a “great existential transformation.” What these thinkers of post- modernity (after Cartesian/ Newtonian/ Galilean modernity) point to are: a) a new therapeutic way of looking at ourselves and our world (metaphysics) and b) a new and corrective notion of “rationality” (different from the objectivist, mathematico- logical way of thinking). This paper is divided into four parts: 1) A summary of Classical Physics and a short history of Quantum Theory 2) Einstein’s Special and General Relativity and Heisenberg’s Indeterminacy Principle 3) Husserl’s discussion of the Crisis of Europe, the life- world and intentionality of consciousness 4) A Metaphysics of Relativity and Indeterminacy and a Corrective notion of Rationality in Husserl’s Phenomenology . (shrink)

The title of the book was chosen due to inspiration from Nietzsche’s famous book ‘Beyond good and Evil’, which has marked an unprecedented turning point in the history of philosophy. Hence, the book titled ‘Beyond Civilization and History’ is intended to outline the politico-historical debate, since the dawn of the 20th century. The discussion in the book will cover pre-modern, modern and post-modern discourse of the history of civilizations. The debate mainly focuses on the modernist and post-modernist historical (...) context especially surrounding the writings of Oswald Spengler, Norman Angell, Arnold J. Toynbee, and Alexander Dugin. (shrink)

In the contemporary anthropological discourse, the general subjects of temporality and aesthetics, as form of cognition, turn out to be the neuralgic points through which the question of the human existence is considered in many approaches to human being (cognitive, ethical, ontological or theological). In the philosophical system of the French post-modern thinker Jean-François Lyotard (1924-1998) these two issues are deeply interlaced leading to new and original solutions of the above-mentioned question. The aim of the contribution is to reconstruct (...) the interconnection between temporality and aesthetics in the thought of this philosopher showing Lyotard’s aesthetic structures of temporality as a central contribution to the post-modern subjectivity theory. (shrink)

Johann Georg Hamann (1730-1788) was a public servant from Konigsberg - dubbed der Magus im Norden - who maintained friendly relations with almost the entire Prus­sian intelligentsia of his time. He wrote various dense and idiosyncratic texts that never failed to both attract and offend his contemporaries. In "Johann Georg Hamann and the Enlightenment Project", Robert Alan Sparling addresses this enigmatic thinker from the perspective of political philosophy. The basic scheme of Sparling's book is to pit Hamann against the Enlighten­ment. (...) In his introductory chapter, Sparling argues that the term Enlightenment must be understood in a double sense. For him, the term indicates a "historical movement" that took place in the eighteenth century as well as an "ongoing political project" that builds upon this historical movement. Sparling argues that Hamann's resistance against the Enlightenment as a historical movement can be made relevant for philosophical discussions in the present. This would imply that Hamann offers an alternative for the two traditions that dominate political philosophy today: the Enlightenment (as on­going political project) and the counter-Enlightenment (in the form of romanticism and post-modernism). The aim of Sparling's book is therefore twofold: (1) "to illuminate Hamann's location within the history of political thought" and (2) "to indicate his im­portance for political philosophy today" (ix). This review briefly examines both aims. (shrink)

The quest for more holistic forms of treatment and healing in modern psychology has been provoked by its sole focus on the management of symptoms. This has led to an alarming rise in the use of psychedelic substances. Yet the true cause behind these maladies of the mind is the burgeoning ‘crisis of meaning’ that we find in the world today. This largely undiagnosed predicament has led to religion being supplanted by psychology, and to the realm of the psyche becoming (...) confused with that of the spiritual. Modern societies have clearly lost a sense of the sacred. To the extent that we fail to see this, the use of entheogens will never be able to replace a true “science of the soul,” which offers a more satisfying conception of reality, and a fuller understanding of what it means to be human. In this way, we may discover a properly integrated approach to healing that is grounded in the deeper wisdom to be found in the world’s time-honored spiritual traditions. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the entire (...) range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

The goal is to analyze the presuppositions of cognitive sciences, to characterize and situate their argumentative models and explain the social and epistemological conjuncture: the reconstruction today of a theory of the subject as the source and ground of knowledge.

In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...) evolutionary selection pressure. The most arguable and interesting expression of this point of view is that which says that the human mind is more like a Swiss army knife than a general-purpose computer or sponge for information. Our minds are modular. First propounded by Jerry Fodor, the idea was taken up by evolutionary psychologists and fleshed out with a history. Evolution has given us cognitive modules, partly self-contained mental “machines” that are attuned to solving problems with a narrowly defined domain. Darwinian evolution has shaped our minds in particular ways that fundamentally affect our evaluation of everything we perceive and therefore our appreciation of art. I draw out a surprising implication of combining the modular view with evolution: that our aesthetic standards may, to some extent, be fragmented and not quite as universal as held by the orthodox defence of classical art. (shrink)

The production of sound by the machinery of change is a viral element in the problems of civilization. Conceptual historical paradox involving mind and matter as the recurring source of the problems of civilization is elaborated to expose a space reducing friction residing at the border of conceptual and empirical interpretation involving cause and effect rather than physical form. A visually based mathematical-physical form, is elaborated and discussion, based on a philosophy of motion, volume and processes that is indivisible, unmoved (...) by the willed power of the discourse, is evolved in an analogy to interpreted ancient mathematics of Euclid. (shrink)

Book Reviews Mehmet Karabela, Dialogue: Canadian Philosophical Review/Revue canadienne de philosophie, FirstView Article.

This chapter is devoted to the discussion of religious freedom and the anti-racist fight in the Black Diaspora in Latin America, considering the historical processes that involve such discussion, including legal apparatus such as Human Rights and local legislation. Therefore, as a starting point, we take the historical conditions of the emergence of Candomblé in Brazil, that are linked to the trafficking of enslaved African peoples and their resistance to keep alive in their memories, their religious beliefs and their worldviews. (...) Wherefore, it is a discussion in which religious freedom is not dissociated from the anti-racist struggle in the case of Brazil, where, in the 20th century, the myth of racial democracy is produced in the light of studies carried out by Gilberto Freyre in the midst of the 1922 post-week modernist movement. (shrink)

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)

Ezra Pound got many things wrong. He was a poor judge of character and a supporter of causes and individuals that have done and continue to do much harm to people around the world. This book addresses the matters (literary and philosophical) that Pound got right, while still pointing out the flaws; it highlights the impact such evidence may yield for the student of art. -/- The result of my research in the pages that follow may be described as a (...) study in aesthetic affinities between Ezra Pound’s thought and the guiding notions found in the Confucian lore. The question it attempts to exemplify is that long-standing one about the nature of knowledge. -/- The analysis that follows seeks to provide a variety of perspectives (both in terms of disciplines and interpretations) about how Pound created with his writings a metaphor of knowledge to understand, assimilate, and put to use his discovery of the East as represented by the Confucian mind. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

An account of two sources of the "minimal global ethic," one interpretive and the other creative. Humour, more specifically slapstick, is the interpretive source, while "revelation" as present in both Rabbinic Judaism and Modernism is the creative source. The question of the ethic and conflict is then briefly discussed. This version, posted 22 January 2023, is a revised form of the chapter from the book published in 2009.

This book is a personal answer to the crisis of the left. The author of this text belongs to a generation habituated to live with global explanations. During our youth, the future of the world was the future of democracy and socialism. We belong to a generation of “leftist” that found in Marx and Freud, phenomenology and structuralism the most important answers that made sense of the everyday world. However, the developments of events during the last sixty years showed that (...) our confidence was ungrounded. The depreciation of the theoretical thought accelerated in direct proportion to the development of technologies, and among them the impact of the digital developments was devastating. One of the most notable consequences of the digitalization of culture was the depreciation of the Marxian thought, but also the less recognized depreciation of all kinds of political-economic thought. The collapse of the world created before the Second World War open for the end of the “grand narratives” and the enthronization of Postmodernism. The production of fragmentary explanations took over the historical perspective with an important influence on social and economic thought. After 60 years of postmodern thinking, we believe that the time of Postmodernism is over. Politicians and economists over the world cannot continue to produce results in small packages. The whole picture must be restituted. Of course it must be done incorporating the lessons of the past to avoid to make the same mistakes. Postmodernism has left behind lots of scattered modernist philosophical remnants. It left a chessboard with only few pieces to work with, and in this allegory, only as references. The philosophical schools remains, but the study of them is strictly for an education in the history of ideas. The situation is aggravating since the most important works from the 1960’s and forth, (post-structuralists) deliberately have avoided obvious identity patterns. A word in Rio de la Plata’s jargon language describes this situation, cambalache, a sort of “flea market” where everything lies higgledy-piggledy. Deconstruction and the focus on differences are vital to Postmodernism. Remaining is therefore the intersections, the contrasts, shadows, and sketches. When trying to orient in such an intellectual environment, the task reminds of patching scatterings, and building with tools of eclecticism. However, we believe that is time to reconstruct instead of deconstruct, moving back to Modernism that we will describe as Cyborgism. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with (...) industrial technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

In this paper, I explore the philosophical apprehension of the face through art history in order to signal a moment of rupture in the contemporary times of the face and its signifying relationship to the subject. Drawing from Francis Galton’s nineteenth century photographic experiments on analytical portraiture, one sees how the face when conceived as an atlas, functions very differently for the subject and its recognition than when understood as a mere image. With the advent of futuristic technology like AI (...) and machine learning feeding in much of our technocratic imaginations, where does the face and its constituency lie? Modernist artists found in the face, various motivations of their own – it was a field to explore their own subjectivities and those inclined towards the transcendental managed to liberate the subject from its image i.e. the face. This manner of freeing the subject of its image and thinking of the face as a structure of the subject, has potential to help us imagine new kinds of polyvalent subjectivities, as can be seen in works of contemporary artist- philosophers like Hito Steyerl. This paper articulates this journey of the face which began its story as the constitutive technology of the subject in the 19th century but today find its best reckoning as an insufficient one, in our quest for understanding new post-humanist subjectivities. (shrink)

The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden’s (the host of CBS Network’s Late Late Show) Carpool Karaoke, this paper addresses the issues of directly (...) lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one’s sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

Alexis karpouzos is a visioner in the development of post-history sense of cosmic unity and the integral consciousness. For him, spirituality is not just about personal enlightenment but is deeply connected to moral action. He view ethical living as a natural outgrowth of spiritual awareness. In his worldview, the divine is not something distant or abstract but is present in every human being, and this awareness should lead to moral behavior that reflects love, justice, and equality. In many of (...) his writings, Alexis karpouzos calls for the realization of a moral society, one that is based on mutual respect, compassion, and the recognition of the divine essence in all people. His commitment to social reform, education, and the improvement of human welfare can be seen as an extension of his spiritual values, grounded in the belief that the divine resides within every person, regardless of their social or economic status. Alexis karpouzos believe that the process of spiritual growth was a deeply personal journey. He often spoke of the importance of inner freedom and self-realization. For him, true liberation was not something that could be granted from outside, but a state of consciousness that could only be attained through deep self-awareness and connection to the universe. This self-realization, however, did not mean renouncing the social and historical world; rather, it involved seeing the universal consciousness in all aspects of life and acting in alignment with it. (shrink)

Architecture often relies on mathematical models, if only to anticipate the physical behavior of structures. Accordingly, mathematical modeling serves to find an optimal form given certain constraints, constraints themselves translated into a language which must be homogeneous to that of the model in order for resolution to be possible. Traditional modeling tied to design and architecture thus appears linked to a topdown vision of creation, of the modernist, voluntarist and uniformly normative type, because usually (mono)functionalist. One available instrument of calculation/representation/prescription (...) orders this conception of architecture: indeed the search for an optimal solution through mathematical calculation of a model itself mathematical, thus homogeneous and simple, is only possible when one or two functions or functional constraints are formulated, never more, and this, on a global level, therefore starting from a unique and homogenizing viewpoint. It is essential to grasp that, even applied to material and its properties or towards a particular esthetic or functional dimension, this viewpoint is thus abstractive and generalizing: disregarding singularity of context, insertion and relationship to the environment or local, social behavior. It leaves aside functional specificity and heterogeneousness – re-contextualized each time – of functions that the object or edifice are required to fulfill and optimize under diverse constraints, in their different parts. The computational turning point today’s digital design and computational architecture embody modifies these instrumental, original prescriptions, rendering them more flexible. Perhaps in light of this turnabout we should retrospectively interpret 20th century calls for modernism, functionalism and even biomorphism as being just as many ex post rationalizations in respect to techniques of strongly prescriptive modeling since our only instrument is a monolithic language, and so being, incites a top-down conception, (naturally weakly reactive to contexts), including forms whose overall appearance resembles in fine a living form. In order to liberate oneself from this and despite everything, emerge as its initiators, one has constructed from ideology and philosophy (of object, habitat, the urban) ex post, even while it is the instrument of modeling and conception that largely determines, normalizes and dictates ex ante, the possibilities and limitations of the creation of forms and living experiments4 in a given time. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main (...) repression in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)