The philosophy of the art of living asks the age-old question of orienting one’s own life: ‘How can I live well?’ An art of living is always called for when people do not know what to do and how to go on, when the ways of life are no longer self-evident, when traditions, conventions, rules, and norms lose their plausibility and individuals begin to worry about themselves. The art of living and of its philosophy has a practical (...) aim: It is not concerned with ethical principles, but with the concrete practice of people’s everyday life, with their individual and successful lives. Friedrich Nietzsche, as he often did, pushed the problem of the art of living to the extreme, making it palpable both in its dignity and in its force. For him, the modern uncertainty of human orientation caused by nihilism pointed to art and aesthetics, which, he supposed, makes life if not justifiable, at least bearable. The arts open up a multi-perspectival seeing and hearing, they experiment with alternative forms and techniques, and create the finest sensibilities for both – Nietzsche himself, with his rich forms of philosophical writing, is an outstanding example of this. -/- The volume we present here, entails contributions of German-speaking scholars on Nietzsche and the ways of living he proposes, especially, but not alone in Dawn. The papers are selected from a book series on the common issue “Critical Art of Living,” edited by Günter Gödde, Jörg Zirfas, and others, and translated on behalf of the Foundation for Philosophical Orientation. (shrink)

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

I wholeheartedly sympathize conceptually with Coeckelbergh’s paper. The dialectical relationship between vulnerability and technology constitutes the core of Hegel’s Master and Slave. Yet, the empirical dimension is underdeveloped and Coeckelbergh’s ideas could profit from exposure to case studies. Building on a movie/novel devoted to vulnerability coping and living with ICT, I challenge the claim that modern heroism entails overcoming vulnerability with the help of enhancement and computers.

This essay presents an account of what it takes to live a philosophical way of life: practitioners must be committed to a worldview, structure their lives around it, and engage in truth‐directed practices. Contra John Cooper, it does not require that one’s life be solely guided by reason. Religious or tradition‐based ways of life count as truth directed as long as their practices are reasons responsive and would be truth directed if the claims made by their way of life are (...) correct. The essay argues that these three conditions can be met by progressors as well as sages. Making progress in how one acts in the world, and improving one’s understanding and direction through being part of a community is living a philosophical way of life. The offered view acknowledges more ways to develop the art of living and enables a broader range of people to count as living philosophically. (shrink)

The central aim of the present investigation is to shed light on Nietzsche’s understanding of happiness and a good life, starting from Nietzsche’s appropriation of Plato’s and Aristotle’s doctrine of a hierarchy of human beings and forms of life.

Reflections on Ethical Living, Asia Publishers, (2021). Editor: Prof. Dror Burstein. (In Hebrew) Two academic events dedicated to the book hosted 7 commentators discussing its key philosophical themes: the Van Leer Institute in Jerusalem, and the Technion – Israel Institute of Technology. The book has also generated over 20 interviews in the main Israeli media channels.

This contribution focuses on three aspects of Nietzsche’s art of living that have become relevant today especially in the United States (but not only here): first, regarding some facets of the economic-political conditions of any contemporary art of living; second, the widespread adoption of Nietzsche’s notion of self-overcoming and artistic self-design in entrepreneurship and individual’s lives; and third, how his notion of ‘incorporation’ has been further developed in current approaches to habit design. Eventually I will show via the (...) example of Anthony Robbins that some notions of Nietzsche’s art of living have become most popular outside of academia, namely in the commercial industries of what has been called ‘self-growth’ or ‘self-development.’. (shrink)

A human being though basically a physico-chemical and hence physiological being; is essentially a psychological being. Psychology is physiology, but “appears” separate to most humans and will be dealt with as here. But attempts will be made to intermittently connect with modern scientific understanding in terms of nervous system – the brain, spinal cord, nerves and neurons- to get a comprehensive picture of mind and its functions for academic purpose. -/- Psychology is human consciousness and mind and their functions manifested (...) as moods, thoughts, feelings, experiences, cognitions, re-cognitions and the like. Most of the difficulties faced by humans are financial and psychological. -/- The origin, structure, form, and function of human mind as revealed by Indian seers, wise-men, poets and intellectuals in the Upanishads and related spiritual and literary texts, will be translated into psychological and cognitive science elements. Thus an insight of human mental and related body functions will be deciphered. -/- This information then will be extended for its practical use to acquire a stress-free mind to face life in all its shades with equanimity and survive happiness, sorrow, natural and man-made calamities, and the like and the vicissitudes caused by them; and live a purposeful and dignified life of fulfillment as is done by many Indians who follow tradition with discretion. Irrespective of what happens or does not happen as desired around in the outside physical world and inner mental world as a reaction to outside happenings as moods, urges, thoughts, feelings, in the individual and how absorb and transcend the associated pleasantness or unpleasantness will be presented; and how to keep focused on ordained personal, social or social like duties will be highlighted. -/- The art and science of mind management for fitting and proud survival through ups and downs of life with the help of spiritual and cultural attitudes developed by Indian sages and other learned persons will be presented with clarity. For this first we must know, what human consciousness, mind and their form, structure and function is. Upanishads give a beautiful and insightful idea about this aspect. So this article focuses on the Upanishads and the gist available therein about consciousness, mind and their functions and control of mind and the how we can learn Art of Living from this wisdom. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Purpose This paper discusses ethical principles that are implicit in second-order cybernetics, with the aim of arriving at a better understanding of how second-order cybernetics frames living in a world with others. It further investigates implications for second-order cybernetics approaches to architectural design, i.e. the activity of designing frameworks for living. -/- Design/methodology/approach The paper investigates the terminology in the second-order cybernetics literature with specific attention to terms that suggest that there are ethical principles at work. It further (...) relates second-order cybernetics to selected notions in phenomenology, pragmatism and transcendental idealism. The comparison allows for conclusions about the specificity of a second-order inquiry. In line with the thematic focus of this journal issue on the framing of shared worlds, the paper further elaborates on questions relating to the activity of designing “worlds” in which people live with others. -/- Findings The paper highlights that a radical openness toward the future and toward the agency of others is inscribed in the conception of second-order cybernetics. It creates a frame of reference for conceiving social systems of all kinds, including environments that are designed to be inhabited. -/- Originality/value The paper identifies an aesthetics grounded in the process of living-with-others as an ethical principle implicit in second-order cybernetics thought. It is an aesthetics that is radically open for the agency of others. Linking aesthetics and ethics, the paper’s contributions will be of specific value for practitioners and theoreticians of design. Considering second-order cybernetics as a practice generally dealing with designing, it also contributes to the wider second-order cybernetics discourse. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be (...) referred to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

In Foucault, thought is spatial, and unfolds within the density of becoming, in the void that separates the subject and the object. It is ontologically independent from the authority of the contemplating self, the ‘I’. Thought is a being of its own, and comes from the outside – the world of relationships. The present study poses to itself the following question: if thinking indeed comes from the outside, then under what condition thinking can encounter itself – its colour, texture and (...) topography? That is, under what condition can man encounter himself and the world? Since this problem does not have its origin in Foucault’s work, this work does not arrive at any conclusion merely by analysing and evaluating his work alone. Rather, it aims to explore how Foucault has incorporated Kant and Nietzsche into his thinking, on the one hand, and contextualises him within the Western tradition in general and his responses to contemporaries Deleuze and Derrida, in particular, on the other. Consequently, this study is limited by the sheer weight of its own problematisation. However, the problem of ‘under what condition thought encounters itself?’ is here posed not for the sake of constituting a form of knowledge on it, but rather, it is asked from the point of view of ethics. This, in fact, demands a reordering of the forms of ontology that Foucault has developed at different stages of his career. There are three forms of ontology in Foucault’s work: the first analyses man as the subject of truth; the second takes up man as the subject of power; and the third analyses man as an ethical being. The present study reverses the order and examines his work in its totality from the standpoint of his later writings that deal with the problem of truth and ethics. It tries to connect two problems that pop up at different stages of Foucault’s career. The Order of Things asks the question, “what is man?” and in his later writings Foucault labours on the question, “how should I live my life?” This study tries to relate these two questions, as it unfolds itself. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Ambient assisted living technologies are increasingly presented and sold as essential smart additions to daily life and home environments that will radically transform the healthcare and wellness markets of the future. An ethical approach and a thorough understanding of all ethics in surveillance/monitoring architectures are therefore pressing. AAL poses many ethical challenges raising questions that will affect immediate acceptance and long-term usage. Furthermore, ethical issues emerge from social inequalities and their potential exacerbation by AAL, accentuating the existing access gap (...) between high-income countries and low and middle-income countries. Legal aspects mainly refer to the adherence to existing legal frameworks and cover issues related to product safety, data protection, cybersecurity, intellectual property, and access to data by public, private, and government bodies. Successful privacy-friendly AAL applications are needed, as the pressure to bring Internet of Things devices and ones equipped with artificial intelligence quickly to market cannot overlook the fact that the environments in which AAL will operate are mostly private. The social issues focus on the impact of AAL technologies before and after their adoption. Future AAL technologies need to consider all aspects of equality such as gender, race, age and social disadvantages and avoid increasing loneliness and isolation among, e.g. older and frail people. Finally, the current power asymmetries between the target and general populations should not be underestimated nor should the discrepant needs and motivations of the target group and those developing and deploying AAL systems. Whilst AAL technologies provide promising solutions for the health and social care challenges, they are not exempt from ethical, legal and social issues. A set of ELSI guidelines is needed to integrate these factors at the research and development stage. (shrink)

In this chapter I explore what painful art can tell us about the nature and importance of human welfare. My goal is not so much to defend a new solution to the paradox of tragedy, as it is to explore the implications of the kinds of solutions that I find attractive. Both nonhedonic compensatory theories and constitutive theories explain why people seek out painful art, but they have troublesome implications. On some narrow theories of well-being, they imply that painful art (...) is bad for us. Accordingly, we may rightly wonder if it rational for people to watch melodramas or to listen to love songs. One might think that we should generally avoid unpleasant works of art. This implication flirts with absurdity. I show how it can be avoided by making a distinction between well-being and worth. (shrink)

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)

Papers in this special issue were written upon invitation. They were then subjected to the usual refereeing process of the Journal of Pragmatics. While we have attempted to cover almost all important areas in which context is employed as a conceptual apparatus, our coverage is clearly limited in scope. Accordingly, instead of a general updated overview of the use of context in every conceivable specific field (let's say the state-of-the-art of interdisciplinary research on context: a colossal/impossible enterprise!), we will offer (...) the readers of this special issue an introduction to the problems involved in the study of context by way of eight papers encompassing eight different areas. These are (in alphabetical order): artificial intelligence, bilingualism, child development, cognitive science, conversation analysis, neuroscience, philosophy of language, and pragmatics. Our goal is to propose a multi-faceted view of context, and to stimulate further investigations of this fertile topic, which permeates our lives. (shrink)

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

Good luck isn’t just chance—it can be learned and leveraged—and The Serendipity Mindset explains how you can use serendipity to make life better at work, at home—everywhere. Many of us believe that the great turning points and opportunities in our lives happen by chance, that they’re out of our control. Often we think that successful people—and successful companies and organizations—are simply luckier than the rest of us. Good fortune—serendipity—just seems to happen to them. Is that true? Or are some people (...) better at creating the conditions for coincidences to arise and taking advantage of them when they do? How can we connect the dots of seemingly random events to improve our lives? In The Serendipity Mindset, Christian Busch explains that serendipity isn’t about luck in the sense of simple randomness. It’s about seeing links that others don’t, combining these observations in unexpected and strategic ways, and learning how to detect the moments when apparently random or unconnected ideas merge to form new opportunities. Busch explores serendipity from a rational and scientific perspective and argues that there are identifiable approaches we can use to foster the conditions to let serendipity grow. Drawing from biology, chemistry, management, and information systems, and using examples of people from all walks of life, Busch illustrates how serendipity works and explains how we can train our own serendipity muscle and use it to turn the unexpected into opportunity. Once we understand serendipity, Busch says, we become curators of it, and luck becomes something that no longer just happens to us—it becomes a force that we can grasp, shape, and hone. Full of exciting ideas and strategies, The Serendipity Mindset offers a clear blueprint for how we can cultivate serendipity to increase innovation, influence, and opportunity in every aspect of our lives. (shrink)

In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are such artworks (...) instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

Henri Lefebvre has considerable claims to be the greatest living philosopher. His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space and real space. In the course of his (...) exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures. (shrink)

Despite confident assertions by science and religion, no one can be absolutely certain what is going on in this drama we call existence. We are haunted by the realization that we are finite, vulnerable, mortal, and perhaps meaningless creatures. The ambiguity in all experience leaves us in a state of fundamental uncertainty, with a buried anxiety underlined by fear of mortality. However, the ability to consider consciousness as a personal creation enables us to appreciate experience for its own sake, despite (...) uncertainty and anxiety. It is the basis of art, and also of tolerance, epistemic responsibility, and the creative ability to think, perceive, and act outside the box. (shrink)

English Abstract In Art as Experience, John Dewey decried the estrangement of art from lived human experience, both by artificial conceptual walls and the physical walls that secluded art within museums. Instead he argued that making and enjoying art are crucial organic functions that sustain communities and integrate individuals within their environments. In the 1920’s Diego Rivera became one of the luminaries of the Mexican muralist movement by creating frescoes that were rooted in Mexican life, both in their subject matter (...) and public location. Rivera and the other artists working within the government cultural program guided by José Vasconcelos created murals that boldly expressed the new values of democracy, peaceful revolution, racial equality and cultural pride. This essay explores the deep resonance between Rivera’s most prominent murals from this period and Dewey’s argument that art is a refined and integral feature of human experience. In particular, this essay will examine the great extent to which these men independently came to the common understanding that for people to thrive and grow they need to create and experience art that grows out of and remains rooted in their culture. Without claiming that either thinker influenced the other, this essay argues that their works mutually inform and enrich each other. Both men sought to free art from the museum, but where Dewey urged us tear down the walls that separated art from lived experience, Rivera transformed walls themselves into murals that unified and educated the people of Mexico and restored their culture. (shrink)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is a (...) particular innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an (...) event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. (shrink)

By creating certain marks on paper, or by making certain sounds-breathing past a moving tongue-or by articulation of hands and bodies, language users can give expression to their mental lives. With language we command, assert, query, emote, insult, and inspire. Language has meaning. This fact can be quite mystifying, yet a science of linguistic meaning-semantics-has emerged at the intersection of a variety of disciplines: philosophy, linguistics, computer science, and psychology. Semantics is the study of meaning. But what exactly is "meaning"? (...) What is the exact target of semantic theory? Much of the early work in natural language semantics was accompanied by extensive reflection on the aims of semantic theory, and the form a theory must take to meet those aims. But this meta-theoretical reflection has not kept pace with recent theoretical innovations. This volume re-addresses these questions concerning the foundations of natural language semantics in light of the current state-of-the-art in semantic theorising. (shrink)

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of (...) ethics--'the difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (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)

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)

In discussion surrounding the destruction of cultural heritage in armed conflict, one often hears two important claims in support of intervention to safeguard heritage. The first is that the protection of people and the protection of heritage are two sides of the same coin. The second is that the cultural heritage of any people is part of the common heritage of all humankind. In this article, I examine both of these claims, and consider the extent to which they align with (...) the current practices that they are intended to justify. (shrink)

Art has a major role in political critique and in the contemporary world of art, ethics, politics, and aesthetics intersect. Using the work of Alfredo Jaar as an example of these intersections, I argue through my reading of Judith Butler, that his art can provide us with better, more egalitarian versions of populations to be perceived as grievable. Once we apprehend grievability, we can affectively apprehend that lives in the context of war and violence are precarious. Here lies the power (...) of art to challenge the dominant norms and frames. Here also lies the central role of aesthetics as a political critique. From this argument I claim that, instead of accounting for aesthetics being separate from ethics and politics, it is important we understand these fields as intersecting with each other. I analyze the work of Susan Sontag on images of suffering and violence, Butler’s turn to aesthetics in her own work, and Jaar’s own conflict over the use of beauty to convey suffering. I defend that apprehension is a term distinct from recognition but central to understand the intersection between ethics, politics, and aesthetics. -/- Key Words: Aesthetics, Affect, Butler, Ethics, Jaar, Politics, Sontag. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we ask, (...) if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)

The necessary condition for the reception of art is aesthetic distance, which paradoxically relies on direct experience: one has to be there in front of the artwork, has to live the experience. Therefore, the current pandemic and the practice of social distancing, which attempts to slow it down, is a serious challenge for the arts. This text analyses the ways in which artists and the institutions which mediate art react to the conditions caused by the pandemic. I will present some (...) creative practices which turn the adversity of the pandemic into an asset (the White Cuib Facebook project and the series by Sándor Bartha). So, there are projects which mine the gap (social distancing) and use it creatively. Then I will analyze the practice of some museums and galleries, focusing on the positive examples (e.g., the “Stay at Home Museum”) as well as on the difficulties. The examined cases will reveal the fact that while the artists were able to react in creative ways to the constraints and to create artworks which point beyond the contextual value, art institutions generally attempted merely to get through this period, hoping that they would soon be able to get back to life as usual. (shrink)

This article argues that Macmurray’s work on education is deserving of serious consideration, because it offers an account of the person that highlights the significance of the emotions and the arts. In particular, the article examines and teases out the areas of Macmurray’s concept of the person that are pertinent to the philosophy of education, which includes the contention that the emotions can and should be educated. Furthermore, on the basis of Macmurray’s work, this article argues that emotional competency is (...) bound up with an education in the creative arts. Consequently engagement with the arts, which is often considered to be a luxury and a hobby, becomes an essential component in the development of human nature and the ability to live well. Finally, by analysing Macmurray’s description of a work of art and bringing Macmurray into conversation with contemporary views regarding the arts and the education of the emotions, in both a critical and a supportive manner, this article concludes that education in the emotions and the arts are key aspects of human well-being. (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary (...) art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

This paper examines Nietzsche’s conflicted relation to Epicurus, an important naturalistic predecessor in the ‘art of living’ tradition. I focus in particular on the Epicurean credo “live unnoticed” (lathe biōsas), which advocated an inconspicuous life of quiet philosophical reflection, self-cultivation and friendship, avoiding the public radar and eschewing the larger ambitions and perturbations of political life. Perhaps unsurprisingly, the idea looms largest and is most warmly received in Nietzsche’s middle period writings, where one finds a repeated concern with prudence, (...) withdrawal and concealment, and where the primary emphasis is on private pluralistic experiments in therapeutic self-cultivation among small groups of free spirits. The idea of the Epicurean Garden appeals greatly to Nietzsche at this time as well, and I suggest that Zarathustra’s Blessed Isles are best understood as a friendship community along these lines. However, Nietzsche’s growing impatience with human imperfections and the siren song of great politics eventually lead him away from Epicurus and back to Plato. Beginning with Zarathustra, the paradigm of the modest, hidden helpful philosopher-therapist is replaced by the more ambitious philosopher-legislator who takes upon himself the task of determining the future of humanity. Nonetheless, I argue that we can profit more from the modest, practical insights of Nietzsche’s Epicurean art of living. (full version). (shrink)

This paper examines Nietzsche’s conflicted relation to Epicurus, an important naturalistic predecessor in the ‘art of living’ tradition. I focus in particular on the Epicurean credo “live unnoticed” (lathe biōsas), which advocated an inconspicuous life of quiet philosophical reflection, self-cultivation and friendship, avoiding the public radar and eschewing the larger ambitions and perturbations of political life. Perhaps unsurprisingly, the idea looms largest and is most warmly received in Nietzsche’s middle period writings, where one finds a repeated concern with prudence, (...) withdrawal and concealment, and where the primary emphasis is on private pluralistic experiments in therapeutic self-cultivation among small groups of free spirits. The idea of the Epicurean Garden appeals greatly to Nietzsche at this time as well, and I suggest that Zarathustra’s Blessed Isles are best understood as a friendship community along these lines. However, Nietzsche’s growing impatience with human imperfections and the siren song of great politics eventually lead him away from Epicurus and back to Plato. Beginning with Zarathustra, the paradigm of the modest, hidden helpful philosopher-therapist is replaced by the more ambitious philosopher-legislator who takes upon himself the task of determining the future of humanity. Nonetheless, I argue that we can profit more from the modest, practical insights of Nietzsche’s Epicurean art of living. (short version). (shrink)

Following the publication of his magnum opus L’être et l’événement (Being and Event) in 1988, Alain Badiou has been acclaimed as one of France’s greatest living philosophers. Since then, he has released a dozen books, including Manifesto for Philosophy, Conditions, Metapolitics and Logiques des mondes (Logics of Worlds), many of which are now available in English translation. Badiou writes on an extraordinary array of topics, and his work has already had an impact upon studies in the history of philosophy, (...) the history and philosophy of science, political philosophy, aesthetics, psychoanalysis, and ontology. This volume takes up the challenge of explicating, extending and, in many places, criticising Badiou’s stunningly original theses. Above all, the essays collected here put Badiou’s concepts to the test in a confrontation with the four great headings that he himself has identified as essential to our humanity: science, love, art and politics. Many of the contributors have already been recognised as outstanding translators of and commentators on Badiou’s work; they appear here with fresh voices also destined to make a mark. (shrink)

Over the last three years I have been fortunate to teach an unusual class, one that provides an academic background in ethical and social and political theory using the medium of comedy. I have taught the class at two schools, a private liberal arts college in western Pennsylvania and a public regional state university in southern Georgia. While the schools vary widely in a number of ways, there are characteristics that the students share: the school in Pennsylvania had a large (...) population of students raised in a middle class industrial context, and the school in Georgia had a majority of students from middle-to-lower class agricultural backgrounds. Because of recent collapses in the economy of the tool and dye industry in the Great Lakes region, and the ongoing concerns for development in rural and urban areas of the southeastern United States, both groups of students were in similarly dire economic and working conditions. All faced the distinct possibility that they would not do as well in life as their parents. Most of the students grew up with television and film and had a love of comedy when they arrived at college. -/- Entertainment and mass media contributed to the students' mindset and the lens through which they viewed and interpreted their lived experience. Comedic mass media in the form of television sitcoms and films were common choices for inexpensive entertainment, in their childhood, in their past, in their homes, and now in their college dorms and apartments. In asking students to connect their own history with cultural trends depicted in comedy in film and television, even through the history of television, gave the students a familiar venue to critically consider their own intellectual growth and development and that of American society as a whole. -/- Many of them were familiar with the internet, and enjoyed the internet as a source of information about celebrities as well as the history and episodes of their favorite television shows and films. Students are rediscovering and discovering television programs that their professors may have watched as children, with the availability of a wide range of comedy television programs available on cable, especially TVLand, Comedy Central and Nick-at-Night. -/- In this article I will elaborate on the value of comedy as a teaching tool for philosophers and professors. I will provide a number of examples, showing how comedy can provide fertile examples of ethical theory at work, and I will show how comedy can be used to clarify cultural norms and values. Finally, I will discuss the political activism and student empowerment involved in teaching Philosophy, Comedy and Film in southern Georgia. (shrink)

Now Online: The Ethics of Rationalism & Empiricism Author: Irfan Ajvazi -/- The Ethics of Rationalism & Empiricism -/- Table of Contents: Chapter I: The Ethics of Rationalism Chapter II: Karl Popper and Rationalism Chapter III: Knowledge, Rationalism, Empiricism and the Kantian Synthesis Chapter IV: Kant’s Knowledge Empiricism and Rationalism Chapter V: The Radical Rationalism of Rene Descartes Chapter VI: Was Plato a rationalist or an empricist? Chapter VII: What is rationalism for Descartes? Chapter VIII: What is Empiricism? Chapter IX: (...) Is the rational-empirical form of epistemology superior to the religious form of epistemology? Chapter X: How was Betrand Russell a rationalist? -/- Rationalism is also contrasted with the idea that faith and revelation too are valid sources of knowledge and verification. -/- If you use the methods of the above three doctrines – namely of rationalism, empiricism and faith (revelation) – to assess the validity of the same doctrines for all practical purposes, we can see that all of them have their place in life as lived by us every day. The problem is when the adherents of each of these doctrines claim that only that particular doctrine is valid to the exclusion of all others. In the march of human progress in all spheres of human endeavor such as science, technology, art and the efforts for peace-building and social cohesion among other things, we badly need reason, experience and faith. In the laboratories of science, experiments are conducted, the processes as well as their results are observed and inferences are made. In such cases, both observation using the senses and logical reasoning are crucial. In order to achieve social or national integration among disparate groups in the society or country for instance, we need to have faith not only in the goodness of our fellow beings, but also in the religious values of truth, justice and sympathy. The rationalists adopt a one-sided view of the world: they ignore a good share of the profound complexities of the wealth of human life. Their approach is effectively reductive, as they cast doubt on knowledge that is not derived by logical thinking. (shrink)

Addressing studies of the concepts of structure and agency, in 2008 sociologist François Dépelteau called for a ‘relational approach’ that compared the ‘trans-actions’ of actors, but notably left open the question of how such a study should be conducted. The present article attempts to operationalise Dépelteau’s call, albeit in a manner tailored specifically to meet the needs of researchers in the area of ‘lived ancient religion’. The study of ‘trans-action’ is operationalised here by employing key terms drawn from Staf Hellemans’s (...) ‘processing approach’ to the study of religion, in which agents ‘process’ their environments through selection, modification, assembly, performance, integration, and resonance. In the study of the religions of Mediterranean antiquity, questions of structure and agency can be addressed relationally by comparing the performances of specific actors, to the extent that such performances are accessible in the material evidence; for example, in the form of texts, statuary, art, and architecture. In an attempt to demonstrate the utility of this approach, a case study of the ritual of circumcision in ancient Judaism is offered. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

Presently philosophers, social theorists, educationists and legal scholars are busy with issues of contemporary importance such as affirmative actions, animal’s rights, capital punishment, cloning, euthanasia, immigration, pornography, privacy in civil society, values in nature, human rights, cultural values and world hunger etc. Since ancient time ethics is one of the most important part of philosophical speculations and human development. The development of morality comes under three stages viz. intrinsic morality, customary morality and reflective morality. Intrinsic morality has traditionally been thought (...) to lie at the heart of ethics and this is the first stage of morality where the objective is to be moral is to lead one’s life according its basic needs. Customary morality is the second stage of morality, where customs of a particular group and tribe rule the life of the man living in this group and morals based on the customs and traditions of society. Members of the group are motivated to sacrifice their lives to save the culture and norms of the particular group or tribe. In the last reflective morality, man started thinking himself and started to do reflection on their life and contributed to the development of the nation or society where he/she lives. Here he/she is independent to think and follow the best for his life. Reflective morals are those that are based on what you believe to be right and not others. The ideas related to the development of art, values, human rights and quality education etc., all are because of man’s reflection. Reflective morality is the best stage of development of morality in human society. In this paper an attempt is made to draw an outline of development of morality in human life and its application of morality in public and personal life. (shrink)

In the novel A Burnout-Out Case, Graham Greene argues for an intimate relationship between burnout and happiness. The novel claims that a life worth living is a continuous balancing between something painful, e.g. burnout and something desirable, e.g. happiness. In this essay, I try to make a case for the happiness of burnout. By examining the case story of a young artist, who suffered from burnout, I describe how such suffering might open up for a necessary reevaluation of the (...) values that actually make sense. Such creation of new values is what eventually leads to more happy moments, not happiness per se. This essay provides a philosophical reflection regarding the relationship between happiness and burnout in order to say something regarding which life is worth living. (shrink)

In this article, an attempt will be made to analyse the Jesuit drama of Georg Bernardt, in terms of its existential philosophy content. It will become apparent that the Jesuits, in accordance here with reformatory theology, assume the existence of a normative facticity. In this normative facticity, the Jesuits then, in most profound conflict with reformatory thought, believe in the possibility to work towards one’s state of grace.

All three books reviewed here are turning over again for us the pages of perennially irresistible thinkers whose ideas never cease to hold us transfixed; all three are inviting us to notice that the material that we thought we knew has got more to do with what Nehamas calls 'the art of living' than we might have realised; and all three are making space for attitudes, responses and areas of self-understanding that are, by traditional classifications, irrational and hence sometimes (...) inadequately acknowledged by philosophy as we usually understand it. And, of course, all three are juxtaposing thinkers from the ancient world with major figures from recent and early modern times. (shrink)