Art among Iranian and Islamic philosophers has always been associated with moral, so that many philosophers have considered art to be synonymous with virtue. By examining Farabi's opinions, it is possible to extract his special ideas about art and artist. In Farabi's theory of Virtuous Art, the artist is on the second floor of utopia and carries religious truths and reasonable happiness. Also, the theory of Virtuous Art has all the aesthetic features and artistic creativity, and in fact, all artistic (...) values are the presupposition of being an art of Virtuous Art. By reflecting on Suhrawardi’s numerous works and intellectual foundations, we can also see that he also paid special attention to the virtuous art and the supreme aspects of art; although he did not directly theorize about the basics of art, but by examining his theories, we can infer the basics of Ishraghi's Virtuous Art. Moreover, Suhrawardi has written some of his works in allegorical and artistic language, and this is a manifestation of Suhrawardi’s Illuminating Art. Among contemporary thinkers, Seyyed Hossein Nasr and Titus Burckhardt have presented an approach with the title of Sacred Art, considering the sacred foundations of art and Traditionalism. (shrink)

This paper looks at the role of art and material culture in the rituals of birth, first taking into consideration research on material culture in traditional rituals of birth and then turning to the primary topic, which is how art in the contemporary rituals of birth often holds sacred meaning even when the ritual is of a nonreligious nature. A discussion about the sacred in the context of a nonreligious ritual hinges upon an understanding of that which is (...) “sacred”; thus, the paper looks at research on modern theology and the sacred to examine the term in the context of birth as a contemporary rite of passage. Giving examples of how material culture has been important in several traditional birth rituals from different cultures, the paper then traces a similar occurrence in which participants in contemporary nonreligious rituals of birth also uphold art and material culture as sacred elements of the rituals. The paper provides the reader with description of a rich array of art and material culture used across cultures in different rituals of birth. Taking into consideration the numerous contributions that scholars have made to the emerging field of birth and religion, including the interdisciplinary importance of theories related to birth as a rite of passage, the paper also presents new research on the materiality of the contemporary rituals of birth. (shrink)

The article re-visits the different scholarly approaches to Hegel's end-of-art scenario, and then proposes a new reading whereby ending and finitude are presented as essential features of beautiful art. The first and most determinant of art's endings is the death of the Christly art object, not representations of Christ, but the actual death of (the son of) God himself as the last classical artwork. The death of God represents the last word in Greco-Roman art, the accomplishment of the beautiful individuality (...) and its failure to present the Absolute in a singular, naturally infected, lively, human (made) form. The ending of art brings about a new form of the sacred: the representational language of revelatory religion. The ongoing production of modern artistic forms is a feature of actuality ("Wirklichkeit") and as such is condemned to an infinite approximation of what has been. Such actuality nonetheless "ends" in the ironic discourse of contemporary artistic expression, which Hegel qualifies as a "Vereitelung". The final realization of the beautiful art form, as a human-informed singularity embodying absolute content, may well be the Encyclopedia of Philosophical Sciences, whose performative iteration takes place in the form of "worship" practiced in the modern, state university. (shrink)

Is art and wrting a pagan manifestation of profane thoughts and feelings? What about the sacred art? Is there a link between the two? In other hand, the social status of the artist and semo processes of artistic creation, his strategy, his willing, his fundamentals.

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

Based on accounts and rewrites, this article intends to think about paths in photography history, their connections between ethics, and use of image and narrative appropriations. Taking the Pará Amazon as a place of reflection, an effort is made to rethink the power relation-ship constituted by a specific point of view in the history of image. This text had the collaboration of Izabelle Louise Anaúa Tremembé, an indigenous student at Federal University of Pará (UFC). In her accounts, she talks about (...) appropriation culture, exotification of sacred objects, and sexualization of female bodies, as well in her speech, she affirms the lack of knowledge when it comes to their rituals and even brought up that indigenous autonomy in making art has always existed. The accounts were articulated on the occasion of the meeting between teachers and photography and cinema producers, in April 2019, Alcantara, Maranhão. (shrink)

Neil Gorsuch lauds judges who purport to “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be . . . .” It’s hard to see how such a form of Originalism withstands scrutiny. -/- First, using “reasonable reader” understandings rather than speaker meaning turns language and law on their heads. Audiences effectively become (...) the speakers in ordinary speech (since reader or audience meaning prevails), and audiences (and thus the ruled) effectively become the rulers when interpreting law (since audiences’ meaning prevails). -/- Second, since laws look forward to govern conduct, how can best legal practices keep such a backward focus? -/- Third, words (however understood by others at the time “originally” uttered) may or may not (depending on speaker and not reader meaning) signify concepts whose meanings embrace change over time. For example, the word “planet” used by a speaker before the discovery of Uranus and Neptune may or may not include further planets depending upon what the speaker meant by “planet.” (The same applies to the inclusion or exclusion of Pluto had the speaker used the word “planet” after the discovery of Pluto but before its exclusion by current science.) Unlike the “reasonable” reader of Gorsuch’s Originalism as phrased above, speakers run the gamut from reasonable to unreasonable, from informed to uninformed, and from thoughtful to thoughtless. -/- Fourth, to the extent a judge is principally “constrained” by a text or texts (as he may determine), by dictionaries that he chooses, and by “history” as the judge understands it, isn’t judicial activism encouraged rather than restrained? Talk of a “reasonable” reader masks the fact that there can be multiple “reasonable” conclusions of what a reasonable or unreasonable speaker meant. Is a judge not therefore left to pick definitions and applications of terms that accord with the judge’s understandings of history, understandings that may well be colored by the judge’s politics and judicial philosophy? This applies to principles as well as labels for things. Principles are also subject to multiple frames, and their terms are subject to multiple definitions therefore raising the very same questions just raised above. -/- Finally, such Originalism doesn’t merely fail with legal texts. It also fails when applied to other texts (including sacred texts such as the Ten Commandments) and when used to interpret art (such as “Landscape with the Fall of Icarus” often attributed to Bruegel and which inspired such great ekphrasis as Auden’s “Musée Des Beaux Arts”). These further failures underscore the dysfunction of Originalism in Gorsuch's form noted above. -/- Keywords: Originalism, Neil Gorsuch, Text, Textualism, Scalia, Interpretation, Pragmatics, Speaker Meaning, Art, Painting, Bruegel, Auden, Ekphrasis, Icarus, Bible, Ten Commandments, Herod, Declaration of Independence, Abraham Lincoln. (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)

hroughout medieval Christianity, religious works of art emerged to illustrate the teachings of the Bible for the largely illiterate population. What, then, is the significance of the psychoactive mushrooms hiding in plain sight in the artwork and icons of many European and Middle-Eastern churches? Does Christianity have a psychedelic history? -/- Providing stunning visual evidence from their anthropological journey throughout Europe and the Middle East, including visits to Roslyn Chapel and Chartres Cathedral, authors Julie and Jerry Brown document the role (...) of visionary plants in Christianity. They retrace the pioneering research of R. Gordon Wasson, the famous “sacred mushroom seeker,” on psychedelics in ancient Greece and India, and among the present-day reindeer herders of Siberia and the Mazatecs of Mexico. Challenging Wasson’s legacy, the authors reveal his secret relationship with the Vatican that led to Wasson’s refusal to pursue his hallucinogen theory into the hallowed halls of Christianity. -/- Examining the Bible and the Gnostic Gospels, the authors provide scriptural support to show that sacred mushrooms were the inspiration for Jesus’ revelation of the Kingdom of Heaven and that he was initiated into these mystical practices in Egypt during the Missing Years. They contend that the Trees of Knowledge and of Immortality in Eden were sacred mushrooms. -/- Uncovering the role played by visionary plants in the origins of Judeo-Christianity, the authors invite us to rethink what we know about the life of Jesus and to consider a controversial theory that challenges us to explore these sacred pathways to the divine. (shrink)

The objective of the paper is a presentation and an interpretation of Władysław Stróżewski’s views on aesthetics. Built upon the foundation provided by classical metaphysics, Stróżewski’s aesthetics is simultaneously a continuation of the tradition of phenomenological interpretation of art. Stróżewski extends Roman Ingarden’s aesthetic theory by including the idea of numinous concretion, largely inspired by the works of Rudolf Otto. As a result, this new phenomenological perspective transcends the narrowly understood ‘aesthetics’ of the work of art towards the inherent dimension (...) of the sacred. Moreover, Stróżewski’s scrutiny of the aspect of art that goes beyond the aesthetic reveals an important relationship obtaining between his insights and the theological aesthetics of Hans Urs von Balthasar. Thus Stróżewski’s ideas turn out to be of significance to contemporary aesthetic and theological debates. In particular, he shows the movement of beauty from aesthetic to transcendental, and ultimately towards the sacred, where numinosum is manifested as Mystery. (shrink)

In the article I analyse the phenomenological possibilities of sanctioning a religious revelation through the experience of art. First, I present the context for reflections on the religious dimension of art on the grounds of contemporary phenomenological research. Next, I analyse the main methodological problems within the research area under consideration. I also propose an interdisciplinary approach to the issue of art and revelation, which allows for a complementary presentation of this complex research problem at the intersection of aesthetics, phenomenology, (...) philosophy of religion and theology. (shrink)

How we feel is as vital to our survival as how we think. This claim, based on the premise that emotions are largely adaptive, serves as the organizing theme of Why We Need Religion. This book is a novel pathway in a well-trodden field of religious studies and philosophy of religion. Stephen Asma argues that, like art, religion has direct access to our emotional lives in ways that science does not. Yes, science can give us emotional feelings of wonder and (...) the sublime--we can feel the sacred depths of nature--but there are many forms of human suffering and vulnerability that are beyond the reach of help from science. Different emotional stresses require different kinds of rescue. Unlike secular authors who praise religion's ethical and civilizing function, Asma argues that its core value lies in its emotionally therapeutic power. No theorist of religion has failed to notice the importance of emotions in spiritual and ritual life, but truly systematic research has only recently delivered concrete data on the neurology, psychology, and anthropology of the emotional systems. This very recent "affective turn" has begun to map out a powerful territory of embodied cognition. Why We Need Religion incorporates new data from these affective sciences into the philosophy of religion. It goes on to describe the way in which religion manages those systems--rage, play, lust, care, grief, and so on. Finally, it argues that religion is still the best cultural apparatus for doing this adaptive work. In short, the book is a Darwinian defense of religious emotions and the cultural systems that manage them. (shrink)

Citation:Christodoulou, Marina. “Technopolis as the Technologised Kingdom of God. Fun as Technology, Technology as Religion in the 21st Century. God sive Fun.” Cahiers d'études germaniques N° 74, 2018. La religion au XXIe siècle - Perpectives et enjeux de la discussion autour d'une société post-séculière. Études reunites par Sébastian Hüsch et Max Marcuzzi, 119-132. -/- -------- -/- Neil Postman starts his book Technopoly: The Surrender of Culture to Technology (1993)1 with a quote from Paul Goodman’s New Reformation: “Whether or not it (...) draws on new scientific research, technology is a branch of moral philosophy, not of science.” (Postman 1993: motto; Goodman 2010: 40). I would extend Postman’s Technopoly to Technopolis, to give it more of a presence in time and space. Hence, I will use the term Technopoly when I am referring to Postman; the term Technopolis is my own. -/- In his book From Faith to Fun: The Secularisation of Humour, Russel Heddendorf argues that humour is a technology (Heddendorf 2009: 32-34), as it is understood and theorized by Neil Postman in Technopoly. Russel Heddendorf also argues that “Technopoly” is a term correlated with Wittgenstein’s use of the term “worldview” (Weltanschauung) (Heddendorf 2009: 11). -/- I would like to draw on these thoughts to propose that Technopoly (or Technopolis) could be the secularized Kingdom of God, namely that Technology is the Religion of the 21st century, and that Fun is a paradigm of such a Technology / Technique. God is yet another technique or Technology of and in Technopoly. -/- The godless individual in the 21st century, I will argue, is as much a believer as the faithful in the Sacred Religion (term used in opposition to Secular or rather Technological or Technologized Religion, which is Fun). He believes in Fun (as a post-modern form of pleasure), as much as the believer believes, or more accurately, believed in God. In the 21st century, the faithful in Sacred Religion believes in a fun God, as opposed to the serious God of the past. Fun is turning into the Technologized Religion for all; for the faithful in Godly / Sacred Religion, as well for as the unfaithful. Fun (pleasure, humour) is the definitive qualia of 21st century pleasure. The mechanics of Fun make it absolutely functional for controlling people; as Aldous Huxley wrote in Brave New World, people “are controlled by inflicting pleasure” (cited in Heddendorf 2009: 158). Now, indulging in pleasure is having Fun. In the 21st century, nobody is unfaithful, nobody disputes God, because God has been manufactured into Fun. We are living in the most religious century of all. -/- The commodity of God, now inextricably blended into work and leisure ethics and culture, is as unavoidable as survival. You don’t work, you don’t survive, you don’t exist. You work, you are entitled to leisure, or free time – the time (“busy-time”) when you are busy is work. The free time of leisure (“fun-time”) is a time for fun (pleasure). The time dedicated to Fun is culturally (capitalistically) pre-defined; no moment is actually free, each moment that is sold as free is to be bought with Work Time tokens –which is money. Believe is Enjoy. Happiness, achieved through pleasure, and pleasure through Fun, and Life as Play, is the recipe for Teleology in the 21st century. -/- The Technological God (Fun), as the Sacred God before him, is sovereignty’s technique or a social “mode of release”: demonstrations, marches, petitions, freedom of speech, citizen and human rights vindications, are “modes of release”, so that the next day, feeling relieved and released that you are working for a better life and a better world, you can wake up cheerfully to walk to your workplace, feeling it will change because of your marching, or your petition, or your speech, or the mass you attended, or the prayer you said yesterday. Thus life continues unchanging, through postponing hope; the tension of the tragedy is always released (lysis) in catharsis: refreshment for the next day of work. Art, especially cinema, (namely, simulated life) follows the same cathartic principles as real life. Thus, you can keep coping, and hoping in the meantime is of much help. Religion, Art, Science, Therapy, and Technology are all technologies used to market life, sell it or lend it, and humans are buying it back. Fun is free to produce, and expensive to buy. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do (...) these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

[The Mechanics of Sorcery in the Context of Deceptive-Imitative Poetry] When we inquire as to how people could have a perverted preference for ignorance over knowledge, Plato’s statement that people are deprived of true opinions only against their will provides us with an essential clue for starting out: Depriving a person of something against their will is only possible by theft, by spells of sorcery, or by force. Victims of sorcery alter their opinions under the spell of pleasure or are (...) terrified by fear. However, the “sorcery” mentioned here is not a mysterious effect, but rather the deterioration of the harmony established between the three aspects of the soul in favor of appetite. The measure and harmony in the cosmos apply to the fundamental principles of the human soul, and rhythm is engraved on the soul as the protector of measure and harmony. Rhythmic speech is the reflection of “divine language” in the human world; the poet of the ancient period was the interpreter of the “sacred language” through which the divine word appeared. When the poet and the poetry both degenerate, the poet is reduced to nothing more than a common diviner or sorcerer. Since he knows nothing but how to imitate, he embellishes his work with colors from ancient arts. He speaks his words in rhythm, measure, and harmony in order to deceive reason, which is the aspect of our soul that is most prone to measurement and calculation. This is how the poet paralyzes it. Therefore, imitative poetry vitiates our soul “without even our souls hearing it”. (shrink)

Eternity is a unique kind of existence that is supposed to belong to the most real being or beings. It is an existence that is not shaken by the common wear and tear of time. Over the two and half millennia history of Western philosophy we find various conceptions of eternity, yet one sharp distinction between two notions of eternity seems to run throughout this long history: eternity as timeless existence, as opposed to eternity as existence in all times. Both (...) kinds of existence stand in sharp contrast to the coming in and out of existence of ordinary beings, like hippos, humans, and toothbrushes: were these eternally-timeless, for example, a hippo could not eat, a human could not think or laugh, and a toothbrush would be of no use. Were a hippo an eternal-everlasting creature, it would not have to bother itself with nutrition in order to extend its existence. Everlasting human beings might appear similar to us, but their mental life and patterns of behavior would most likely be very different from ours.The distinction between eternity as timelessness and eternity as everlastingness goes back to ancient philosophy, to the works of Plato and Aristotle, and even to the fragments of Parmenides' philosophical poem. In the twentieth century, it seemed to go out of favor, though one could consider as eternalists those proponents of realism in philosophy of mathematics, and those of timeless propositions in philosophy of language. However, recent developments in contemporary physics and its philosophy have provided an impetus to revive notions of eternity due to the view that time and duration might have no place in the most fundamental ontology.The importance of eternity is not limited to strictly philosophical discussions. It is a notion that also has an important role in traditional Biblical interpretation. The Tetragrammaton, the Hebrew name of God considered to be most sacred, is derived from the Hebrew verb for being, and as a result has been traditionally interpreted as denoting eternal existence. Hence, Calvin translates the Tetragrammaton as 'l'Eternel', and Mendelssohn as 'das ewige Wesen' or 'der Ewige'. Eternity also plays a central role in contemporary South American fiction, especially in the works of J.L. Borges. The representation of eternity poses a major challenge to both literature and arts. The current volume aims at providing a history of the philosophy of eternity surrounded by a series of short essays, or reflections, on the role of eternity and its representation in literature, religion, language, liturgy, science, and music. Thus, our aim is to provide a history of philosophy as a discipline that is in constant commerce with various other domains of human inquisition and exploration. (shrink)

Literature’s qualities can be highlighted by combining it with other forms of art. Manga, which is a Japanese traditional literary genre that involves visual art, has gained worldwide popularity in the last few decades. Subsequently, it was adapted into anime. This study explores the legitimacy of manga in literature, its global influence among notable figures such as prime ministers or presidents, and the zenith it attained in anime, which is a universal language. Are manga and anime universal solely due to (...) their graphics and stories? Or is it rather because of their ability to connect people to the sacred? Is image universal? If so, what kind of image? Static one? Moving one? Which, manga or anime, can rather be considered universal? What does the future hold for literature and its various adaptations? (shrink)

A doctorate-holding editor/columnist at an alternative newsweekly, Cooperman dissects the symbolism of and women's ambivalence toward their domestic roles as depicted in recent culturally diverse US feminist fiction. Conceiving housework as "an art and science of the boundaries," she discusses individual authors, novels, and shared motifs: domesticity as ordering chaos, the unappreciated hollow woman, sustaining home ties, powers of life and death, the sacred in the mundane, and reasons for making a home. Includes a decent categorized bibliography, but no (...) index. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

Göbeklitepe is regarded as one of the oldest temples of the humanity according to archaeologs. In this work, by going back twelve thousand years, we will attempt both to provide information about this structure and to make interpretations by highlighting the theological and philosophical associations of this structure. In our study, we will examine Göbeklitepe not from the perspective of archaeology and history of art but from that of philosophy of religion and religious symbolism. In our research, we benefit from (...) the data of archeology and historical geography. The basic aim of this search is archaeological data that is obtained in the region and to evaluate these datas based on the historical geography and the history of religions. When it is, we have interpreted according to language of religion and religious symbolism. As a result, contrary to popular belief, we saw important reasons Göbeklitepe area that is sacred structures, the people of the Stone Age is not primitive and faith is as old as humanity. We have reached the conclusion that must be rethought the development of human civilization on the Göebeklitepe Temples. Our main objective is to connect Göbeklitepe with philosophical and theological literature and to propose a method and subject as to how to accomplish this. Thus, our study is just an attempt at interpretation. (shrink)

THE WORD IN AFRICAN ONTOLOGY Socrates Ebo, PhD ABSTRACT The word in African ontology is more than mere expression of sounds. It is a being which is intra-mental and extra-mental. It is a creation of human mind and the human lips. But it is also an independent entity with enormous causal powers in the African universe of forces. It is an art as well as a means of communication. It is the embodiment of the history of the African community. Embedded (...) in the word, is the community’s ethics. Yet, the word is also a series of sounds which can be learnt and repeated. It can be uttered by anyone yet not everyone can put it to every use. The word can be profound in a context and meaningless in another context. The same word that is commonplace in common speech can be a causal force in a coded ritual. Yet, it is the word: ubiquitous and cryptic, mystic and plebeian; sacred and profane, artistic, yet plain bland on the lips of many. -/- . (shrink)

This book is at first sight a selection of reviews spanning many years, including some fundamental well-known works and some rare gems of world religions, their spirituality and mysticism, touching on theology, ecology and art; as such, it is useful and interesting in itself, not least because the selection of titles under review follows rigorous criteria. But this collection is also much more than its description implies, for the objective and informative aspect of every chapter is inseparable from an intimate (...) aspect, a recurrent invitation to tread the Path within every path. It is written from first-hand acquaintance and from study, but also from passion and certainty. The concrete and diverse examples shed light on the key to solve the religious puzzle of our times: that is, they delineate an integral framework, that of Perennial Wisdom, the Sophia Perennis as understood in the Traditionalist School, which allows both for religious diversity and for religious unity. The voices of tradition are all, and have to be, different, and yet they are of a compelling unanimity on the essentials. Samuel Bendeck Sotillos draws our attention generously to these voices and this One Voice. (shrink)

Here we propose a discussion about the "mandorla" or "vesica piscis". It is a type of 2-dimensional lens, that is, a geometric shape formed by the intersection of two circles with the same radius, intersecting in such a way that the centre of each circle lies on the perimeter of the other. The aim of the discussion is that of understanding when such a geometric shape became a symbol and when this symbol received a specific name. We will find that (...) the name "mandorla" was used long before the term "vesica piscis", which is the Latin translation of the German "fischblosen" used by Albrecht Dürer in his book on geometry. Therefore, the name invented by Dürer was not used by the painter for a sacred form. However, after the middle of the nineteenth century the term "vesica piscis" exploded in literature. Its use was criticized and, at the same time, it was stressed that the proper term for the symbol is "mandorla". Nonetheless, the "vesica piscis" continues to be largely used in the sacred geometry, which ascribes symbolic and sacred meanings to certain geometric shapes and proportions. In the proposed discussion, we will also show that, recently, the 2-dimensional lenticular symbol has been related to the Pythagorean philosophy. It is told that the followers of this philosophy had the habit of using an apple for symbolic communications. Sliced across, the core of the apple is displaying a pentagram, but sliced lengthwise it forms two intersecting circles, that is a "mandorla". Then, the investigation about terms and related uses of this specific geometric shape is the core of the matter of our discussion or, let us tell, the "core of the apple", in a Pythagorean-like approach to find how a German "fischblosen" evolved into a sacred symbol, thanks to a translation into Latin. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

Abstract: It is the aim of this paper to establish a temporal and cultural link between entheogen-use1 in Classical mystery cults and their possible use in a segment of the early Christian Gnostic Church. As early Christianity was heavily influenced by the Classical world in which it first developed, it is essential to examine the evidence of entheogen-use within Classical mystery cults, and explore their possible influence on the development of Christian ritual. We will first present textual evidence from the (...) New Testament and Nag Hammadi Library (NHL) that indicate possible use of ritual entheogens. Next we will examine entheogen-use by some of the main religious sects of the ancient Mediterranean world as part of their liturgical practice between c. fifth century BCE and the third century CE. Then we will show that the different schools of philosophical thought examined were quite fluid, and that there was considerable overlap among schools with respect to several key philosophies and practices. Ultimately the subject of entheogen-use in the Classical world necessarily falls into the realm of plausible speculation mainly due to the lack of primary sources. However, should the entheogenic hypothesis2 prove to be correct, it promises to be quite useful in future research and in the translation of original documents. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Reducing Being hierarchies down to the physical entities, empirical science having occupied with destroying the sanctity of the universe; does thinking about Sacred architecture suggests a way to release contemporary man from nihilism? The authors’ response is affirmative; therefore, investigating the quality of Sacred disclosure in the religious architecture of Islam and Hinduism, they search for understanding a lost meaning that had been manifesting there. The method of research consists of a comparative study about Islamic mosques and Hindu (...) temples according to phenomenology. Offering existential relation with Sacred architecture by a personal experience for understanding the quality of Sacred manifestation, they criticize semiology and phenomenology methods. (shrink)

The Bugis-Makassar indigenous people who live around Mount Bawakaraeng perform a ritual pilgrimage (hajj) to the top of Mount Bawakaraeng (as a sacred space). This ritual is often considered heretical and deviant. These negative assumptions are the result of the monopoly definition of “sacred place” by the world religion paradigm which is only limited to the doctrine of the holy book and is hierarchical-exclusive. Meanwhile, in the indigenous religion paradigm, “sacred place” is closely related tothe surrounding environment (...) (nature) which also gives life to indigenous peoples. The Bugis-Makassar indigenous people who live around Mount Bawakaraeng construct the sacredness of the mountain, not only as a place for religious rituals but also as a guarantor of their life. There were lacking previous researches discussing “sacred place” through the indigenous religion paradigm approach. This research contributes to that lack. This study examines how the indigenous religion paradigm interprets “sacred place”. The research method used in this research is qualitative. This study argues that there is no better way to understand why indigenous people perform rituals on Mount Bawakaraeng than using the indigenous religion paradigm. This study also shows that the “sacred place” associated with Mount Bawakaraeng is a way for the indigenous people who live around the mountain to preserve the nature around them which has enabled them to live and make a living such as accessing water, gathering medicines from nature, and so on. Eventually, with research that provides a better explanation of what a “sacred place” is in the indigenous religion paradigm, negative assumptions about indigenous people who regard a mountain as sacredplace can be better understood. (shrink)

What, if anything, is fanaticism? Philosophers including Locke, Hume, Shaftesbury, and Kant offered an account of fanaticism, analyzing it as (1) unwavering commitment to an ideal, together with (2) unwillingness to subject the ideal (or its premises) to rational critique and (3) the presumption of a non-rational sanction for the ideal. In the first part of the paper, I explain this account and argue that it does not succeed: among other things, it entails that a paradigmatically peaceful and tolerant individual (...) can be a fanatic. The following sections argue that the fanatic is distinguished by four features: (4) the adoption of sacred values; (5) the need to treat these values as unconditional in order to preserve a particular form of psychic unity; (6) the sense that the status of these values is threatened by lack of widespread acceptance; and (7) the identification with a group, where the group is defined by shared commitment to the sacred values. If the account succeeds, it not only reveals the nature of fanaticism, but also uncovers a distinctive form of ethical critique: we can critique a way of understanding values not on the grounds that it is false, but on the grounds that it promotes a particular form of social pathology. (shrink)

African Traditional Religion and medicine are integral parts of life and culture of the Africans and have greatly influenced their conceptions about human health and wholeness. Their many realities that Africans have not been able to abandon, in spite of the allurements of western civilization, Christianity, Islam and the advances in the biomedical sciences. The aim of this paper is to highlight the meaning of health and wholeness as central issues of concern in African Traditional Religion and Medicine. The misconception, (...) abuse and derogatory attitudes even from some notable Africans towards alternative medicine, as well as the all need of integrating both the alternative and orthodox medicine to bring about total wholeness, serves as the research problem. This paper argued that the biopsycho-socio-ecological model of health and wholeness is fundamental to the African Traditional Religion and Medicine. This model brings together the different aspects of human life and treats the human person as an integral and harmonious whole in perpetual relationship with the sacred, the human community and the environment. This paper therefore recommends that first, Africa has to open to modern medical discoveries and practices and secondly, African Traditional Religion and Medicine concern should be mainstreamed into the medical practice in health care services in contemporary Nigeria. It finally conclude that the alternative medicine despite the arrays of it inadequacies, objections and misconceptions, the practice has come to stay. (shrink)

This essay gives an account of how traditional morality is best understood and also why it is worth defending (even if some reform is needed) and how this might be done. Traditional morality is first contrasted with supposedly more enlightened forms of morality, such as utilitarianism and liberal Kantianism (i.e., autonomy-centered ethics). The focus here is on certain sacred values that are central to traditional morality and which highlight this contrast and bring out the attractions of traditional morality. Next, (...) this essay explores and offers support for the convergence thesis to which traditional morality, understood as common morality, is committed. This thesis states that although there are diverse moral traditions, insofar as they are in good order we should expect them to converge upon a common or universal morality, even if there remain some differences in the details. The defense of this thesis provides justification for the validity of traditional morality as it suggests an objective basis. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)

For Malraux, modernity in art is not only about modern art; it is also about the birth of what he aptly terms “the first universal world of art.” This event was a consequence of the process of metamorphosis which is central to Malraux’s account of the relationship between art and time. The article explains this event, noting also that modern aesthetics has not provided an explanation.

Looks at the development of the sacred after the Sumerians' named the phallus Supreme Creator in 9000 B.C.E. Lists names invented creating belief in Sacred Phallus and names the part male genitals played in supporting the phallus as sacred.

We reflect on the nature of art, the creative process, and the connection between art and philosophy.

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...) particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

A brief overview of work on street art and graffiti.

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

In this chapter, I explore how experiences of social belonging might emerge and be sustained in online communities, drawing from the work on rituals by Randall Collins. I argue that rather than viewing mediated interactions in terms of whether they are suitable substitutes for face-to-face interactions, we should consider mediated encounters in their own right. This allows us to recognize the creative ways that people can create rituals in a mediated setting and thus support and create a sense of belonging (...) with others online. I also highlight how some online platforms not only support online rituals but that they are well-positioned to create and circulate collective symbols (or sacred objects) of groups and, thus, can continue to scaffold and sustain on-going feelings of belonging. (shrink)

We develop a series of theses on the philosophical aesthetics of design art. A sketch of an outline of a theory of objects is drawn from within a naturalistic worldview, that of abstract materialism and the general, still ongoing, quest to build a comprehensive philosophy of nature encompassing not only the physical world, but also culture, art, and politics.

This paper addresses the question of whether a general method is capable of accommodating the vast array of contexts in which art objects are studied. I propose a framework for such a general method, which is, however, limited to a specific research task: reconstructing the circumstances under which a culturally and/or temporally distant or “exotic” art object becomes interesting (or menacing) to look at. The proposed framework is applied to evaluate Anthony Forge’s essays on the visual art of the Abelam. (...) The essays played a central role in the rekindling of anthropological interest in visual art, but they have also been subject to criticism for forcing on Abelam art Western categories that distort the role art objects play in the Abelam world. Assessing the corpus in terms of the proposed framework allows me to exemplify the main differences between a pragmatic and a semantic approach to gaining access to the efficacy of culturally or temporally distant art. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

The logic of soku-hi is presented as an articulation of a post-Kantian view of reality that embraces the truths of science with the assumption of the transcendental subject. As such, soku-hi represents the philosophical posture of both the secular Zen of the Kyoto School and the new materialists of contemporary continental philosophy. It describes how material reality is not all even though there is nothing else.

ABSTRACT In order to explore what it means to pursue philosophical investigations for theological reasons, this paper argues that Ludwig Wittgenstein continues and corrects Pseudo-Denys’ project in The Divine Names. I first argue that The Divine Names should be interpreted as attempting to render human thought transparent to the divine by relativizing our concepts. The success of this project is compromised because the concept of ‘unity’ is not relativized. I then develop the claim that Wittgenstein does relativize unity in a (...) similar way and for similar religious reasons to Pseudo-Denys. As such, he can be read as continuing and correcting the Pseudo-Dionysian project. I conclude by reflecting on several of this argument’s implications for the relationship between philosophy and Christian systematic theology. (shrink)

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

The psychedelic renaissance did not emerge from a void. While a tremendous upswell of interest in psychedelics can be observed today, there is scant acknowledgment of the current spiritual crisis that has led to this burgeoning enthusiasm. Having lost our sense of the sacred, we have—with disastrous consequences—become alienated from ourselves, others, and the natural environment. Secular psychotherapy and psychiatry have failed to address the myriad mental health problems that are prevalent right now, which has compelled people to desperately (...) look for alternatives to fill the void in their lives. Sacred medicines have been used for millennia in humanity’s traditional cultures as part of their spiritual practices. Now that psychedelic-assisted psychotherapy (PAT) is being developed, we must avoid repeating the mistakes of modern psychology, which misguidedly seeks to situate entheogenic therapy on a desacralized foundation of materialism, reductionism, and scientism. Nevertheless, although the full benefit of entheogens can likely be gained only in the context of a sacred tradition, they may still have some measure of therapeutic value even when used in conjunction with secular psychotherapy. This article examines the metaphysical foundations of sacred psychology and argues that entheogenic therapy needs to be grounded on the same basis. The framework employed here is a “transpersonal” perspective that applies the insights found in the world’s great wisdom traditions. It will be argued that the adoption of psychedelics in mental health treatment presupposes a fully integrated psychotherapy that is possible only when it is rooted in a spiritually informed ontology. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

At least since Anaximander’s apeiron, there have been philosophical questions about what, if anything, preceded the gods. But, as far as I know, the precise question that I address in this essay was first explicitly asked by Ronald W. Hepburn, in his essay ‘Restoring the Sacred: Sacred as a Concept of Aesthetics’. In his essay, Hepburn is interested in the actual and potential relationships between religious and aesthetic uses of the concept of the sacred. Which leads him (...) to the question: Does the concept have a valid meaning – an aesthetic meaning, say – that is logically independent of (and therefore might have preceded) the religious one, which seems most strongly associated with the metaphysical belief that God or the gods exist? In other words, is the sacred older than the gods? While he does not provide a definitive answer, Hepburn adumbrates his view on whether this claim is correct. In this essay, I set out my own answer within the guidelines that Hepburn’s sketch has laid out. (shrink)