This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite (...) being habituated to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional (...) elicitative power. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based (...) upon Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

The naive idea of a mimesis between theory and experiments, a concept still lasing in many epistemologies, is here substituted by a more sophisticated mathematical methexis where theoretical physics is a system of production of formal structures under strong mathematical constraints, such as global and local symmetries. Instead of an ultimate “everything theory”, the image of physical theories here proposed is a totality of interconnected structures establishing the very conditions of its “thinkability” and the relations with the experimental domain.

Resumen: Este artículo tiene como objetivo indagar si la mímesis ―o imitación― tal como la entiende René Girard (1923-2015), afecta el juicio ético ―o evaluación moral― de una acción que el ejecutivo realiza en la empresa. En la primera parte, se caracteriza el juicio ético de acuerdo con una revisión de la literatura de ética empresarial (2010-2020). En la segunda parte, se sintetiza cómo Girard explica la conformación de la sociedad a partir de la mímesis, una fuerza impulsora ambivalente que (...) se manifiesta en el deseo de ser como el otro y de diferenciarse del otro, el deseo de apropiarse de lo del otro y la rivalidad. En la tercera, se ilustran las ideas de Girard con ejemplos de la dinámica organizacional. En la cuarta y última parte, se realiza la discusión a fin de responder la pregunta de investigación. Se concluye que, si el sujeto decide no ejercer su capacidad de discernimiento, la mímesis ofrece elementos y oportunidades o bien para el autoengaño respecto de la moralidad y responsabilidad de una acción, o bien para la omisión del juicio ético individual. Abstract: This article aims to investigate whether mimesis ―or imitation― as understood by René Girard (1923-2015), affects the ethical judgment ―or moral evaluation― of an action that the executive performs in the company. First, this text offers a characterization of the ethical judgment according to the business ethics literature review (2010-2020). Second, this article provides a synthesis of Girard´s theory of mimetic desire. Girard conceived the mimesis as a main social driving force from which emerge both, the desire to be like the other and to differentiate from the other. This ambivalent and paradoxical force leads human beings to order and union, or to rivalry and revenge. Third, this inquiry illustrates Girard's ideas with examples of organizational dynamics. In the fourth and last part, the discussion leads to answering the research question. Study’s limitations are pointed out. This inquiry concludes that if the decision-making subject decides not to exercise his/her discernment and rather to remain in the mimesis' blindness, the executive will find elements and opportunities for self-deception or substitution of his/her own ethical judgment with others imitation. (shrink)

In this paper, I oppose the common assumption that visual descriptions in prose fiction are imageable by virtue of perceptual mimesis. Based on introspection as well as convergent support from cognitive science and other disciplines, I argue that visual description (and the mental imagery it elicits), unlike narrative (and the mental imagery it elicits), often stands in no positive relation to perceptual mimesis because it lacks a structural counterpart in perceptual experience. I present an alternative way of defining (...) the kind of mental imagery elicited by visual descriptions, and propose a number of text variables underlying the imageability or non-imageability of any such description. (shrink)

In this paper we offer an interpretation of the inner relationship between nihilism and the tragic. With reference to the work of Heinz von Foester and to the sciences of complexity, we will argue that the essential feature of the tragic is “autoreferentiality”. Furthermore, arguing in favor of the use of the theological notion of kenōsis as the most precise description of the “history of nihilism”, we will show that the latter is to be understood in terms of the “weakening”, (...) or lowering of all the reference points generated by autotranscendent, etheronomous, social phenomena. The consequence of nihilism is therefore autoreferentiality. This result will offer the opportunity to see both to what extent we are now, at the end of modernity, living a tragic situation and, eventually, to claim – by recalling that autoreferentiality is also the inner logic of freedom – that the tragic is the outcome of modernity, but not a necessary one. (shrink)

An interview with Dr. Alaa Algargoosh, a research fellow at MIT Media Lab.

There is another Socratic method, Socratic mimēsis, and an instance of this is when Plato has Socrates play ‘the annoying questioner’ in the Hippias Major. Other interpreters have suggested that the reasons for Socrates’s dramatic play are depersonalization and distance. I argue for viewing Socrates’s role-playing as a way to dramatize the inner dialogue that happens inside one’s mind in what we may call conscience. Hippias the sophist lacks a conscience: his focus is acquisitive as opposed to inquisitive. Plato has (...) staged a pedagogical theater of Hippias’s failed lesson for the benefit of Plato’s audience, the listeners/readers of the dialogue. -/- . (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In this article, we investigate how to explain the difference between traditional design, engineering, and technology—which have exploited nature and put increasing pressure on Earth’s carrying capacity since the industrial revolution—and biomimetic design—which claims to explore nature’s sustainable solutions and promises to be regenerative by design. We reflect on the concept of mimesis. Mimesis assumes a continuity between the natural environment as a regenerative model and measure for sustainable design that is imitated and reproduced in biomimetic design, engineering, (...) and technology. We conceptualize mimesis in terms of two interdependent boundary conditions: differentiation and participation. We subsequently develop four characteristics of biomimicry as regenerative design, engineering, and technology: technological mimesis is 1) a participative differentiation of nature; 2) supplemental to natural mimesis in biomimetic design; 3) the participative differentiation of technological mimesis is constitutive of nature; 4) the participative differentiation of technological mimesis is always limited. (shrink)

Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece of modern (...) aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel Sömmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes Müller, who invented the concept of "sense energies"; and Müller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von Békésy; political activist and philosopher Günther Anders; and Martin Heidegger. (shrink)

This article seeks to further the discussion of mimesis in the current new materialist philosophies that are charged with doubts about the potential of mimetic practices, i.e., practices of reflection, and propose a more differential /diffractive notion of mimesis. It argues that the concept of mimesis and performative approaches to knowledge making can be compatible. The figures of mimesis appear in the conceptualizations of both reflective and diffractive practices, and if mimesis is considered rather as (...) a diffractive operation, it could be seen as having a different efficacy and ethico-political function. Drawing on Karen Barad’s and Isabelle Stengers’ arguments, I start by showing why in the representationalist view of knowledge making, the tool of mimesis is dysfunctional—it is a way of separating and classifying copies of reality. Then, I introduce a diffractive notion ofmimesis in line with the mimetic re-turn in posthuman studies. From the perspective of relational understanding of knowledge making supported in Barad’s and Stengers’ ethico-political proposals, mimesis can be perceived as a tool for provoking change and thus, imply a need to do it carefully. (shrink)

ABSTRACT In this paper, I will offer some examples of the effectiveness of Adorno’s concept of mimesis for an analysis of extreme violence and for a defence of democratic institutions against possible regressions into authoritarian regimes. I will start by reading the concept of mimesis through the lens of the interlacement between the concepts of play and power. My aim is twofold: first, I wish to further the analysis of Adorno’s concept of mimesis by showing that it (...) can be interpreted as a form of play, which either empowers subjectivity or becomes a means of domination; second, I will use these speculations to highlight the relevance of Horkheimer and Adorno’s explanation of anti-Semitic violence when seen through the lens of the concept mimesis. Before concluding, I will briefly highlight Adorno’s ideas about what makes democracy vulnerable to potential regressions into extreme violence, and examine what can be done practically – from an Adornian perspective – to avoid regression: defending democratic institutions, and working towards a removal of those barriers that obstruct genuine mimetic experience and self-reflection. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is (...) once removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

We investigate the formal cause of diagrams, initially realizing that diagrams have no obvious form. It is argued their form is to mimic expert perspectives. This perspective provides a organizational structure that represents the relations important in understanding the worldly situation. We then shift to a study of how we are to understand an expert perspective. Using the distinction between intuitive and formal logic, logica utens versus logica docens, we identify games of habituation: games of focus and distraction. The skills (...) required for games of focus and distraction are phenomenological in regulating the way we see, i.e., how we approach and analyze different situations. This unique phenomenological skill is characteristic of diagrammatic reasoning. (shrink)

The usual interpretation of Republic 10 takes it as Socrates’ multilevel philosophical demonstration of the untruth and dangerousness of mimesis and its required excision from a well ordered polity. Such readings miss the play of the Platonic mimesis which has within it precisely ordered antistrophes which turn its oft remarked strophes perfectly around. First, this argument, famously concluding to the unreliability of image-makers for producing knowledge begins with two images—the mirror (596e) and the painter. I will show both (...) undercut the argument they introduce. Secondly, Socrates repeats the “three removes” argument three times. Each has its own object and philosophical axis. The “bed” argument (596a-598d) concerns the ontological status of images vis-à-vis human makers and the divine idea. The bit and bridle,” 601b-601d) emphasizes the epistemological status of image-making as beneath the human maker of bridles (having correct opinion) and the human user, who knows. This second takes away the ontological distinction which was the point of the first. Thus, any human being could be in any of the three positions—user, maker, imitator. This dance might bring one to doubt the conclusion that the imitator has “neither knowledge nor right opinion” (602a). Plato leads into his concluding psychological and moral argument (602c-605c) after a third variation of the 3 removes. This last gives us the image of the flute player (601d-602) as the one who knows and so can order the flute maker. We will conclude by considering what it is this flutist could know, and given that his art is itself a mimesis, who the imitator of this imitative artist could be. Thus attention to the differences among these examples opens a defense of the arts, which reverses many of the claims made against the arts within the ostensible “Platonic” argument. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

"Memory and Mimesis" commence par une réflexion sur la relation entre l'esprit et la mémoire invoqué par un scénario quotidien de la vie d'un père jouant avec sa fille âgée d'un an dans un bistrot et extrapole, a partir de cette relation, une parallèle relation entre psychologie de l'enfant et de l'évolution humaine en termes du «développement» des formes peu profondes de la mémoire au détriment d'une mémoire plus profonde et primale incorporée dans un esprit non- épiphenominal. -/- -/- (...) L'étude procède alors a le démonter par une exégèse de l'histoire de la création dans le livre de la Genèse avec une attention particulière à l'histoire de la tentation du serpent et le péché originel d'Eve comme une preuve — quand l'histoire est prise ( pas trop ) au sérieux — d’un support biblique pour l'évolution de concert avec des découverts dans la biologie évolutive. (shrink)

L’article examine les « compositions » de Tchernikhov en liant sa recherche constante de nouvelles formes à la capacité de convertir les « fantaisies » en représentations. Contrairement à Aristote, qui conçoit la mimèsis comme l’équivalent de l’entreprise artistique, Tchernikhov perçoit ses « compositions » comme des actes de dépassement de la mimèsis par la phantasia. Les illustrations visionnaires de ses Fantaisies architecturales expriment son intention de remplacer les mots par des images graphiques. Son approche est fondée sur la croyance (...) que la puissance de l’imagination permet à la langue graphique, qui est par ailleurs internationale, de fonctionner comme un précurseur du progrès. L’objectif de l’article est d’élucider comment Tchernikhov traite la tension entre imagination et réalité et d’examiner dans quelle mesure sa production graphique parvient à surmonter la mimèsis à travers la phantasia. La réponse à ces questions pourrait nous aider à expliquer pourquoi Tchernikhov a souvent été jugé comme inclassable et à évaluer à quel point sa démarche reflète les polarités entre les rationalistes et les constructivistes. L’opposition entre « composition » et « construction » permet de mieux comprendre le positionnement à la fois singulier et fondamental de Tchernikov par rapport au constructivisme. L’article met en évidence le fait que le rôle essentiel de la phantasia pour Tchernikhov découle de la valorisation de la « composition » plutôt que la « construction ». (shrink)

As two concepts that are both distinct and intertwined, creativity and mimesis have their own history of development. In the visual arts, both refer primarily to the principles, methods, and procedures of image production. The production of images is neither entirely arbitrary nor entirely plannable, but has its own logic, which lies between work and reality, the inner world and the outer world as well as tradition and innovation. The relevant discourses are influenced by the respective cultural-historical frameworks. Due (...) to this fact, it is of significance to consider the tension between creativity and mimesis in image practices from an intercultural perspective. (shrink)

It is well known that in the Republic, Socrates presents a view of the soul or the psyche according to which it has three distinct parts or aspects, which he calls the reasoning, spirited, and appetitive parts. Socrates’ clearest characterization of these parts of the soul occurs in Republic IX, where he suggests that they should be understood in terms of the various goals or ends that give rise to the particular desires that motivate our actions. In Republic X, however, (...) Socrates uses the phenomenon of cognitive conflict about matters of fact to show that the soul has only two parts, the rational and the irrational. Moreover, he characterizes these parts in terms of cognitive tendencies, such as forming beliefs on the basis of reason versus forming beliefs on the basis of perceptual appearances. In this chapter, I explain how these divergent accounts of the soul and its parts are legitimate alternative characterizations. A consequence of my argument is that we should not think of the divided soul as primarily a division of desires, but rather as a division of cognitive attitudes towards the world, each of which yields different sorts of desires. (shrink)

This essay offers an interpretation of Aristotle’s account of the birth of tragedy (Poetics 1448b18–1449a15) as a mimesis of poetic praxis. The workings of this passage emerge when read in connection with ring composition in Homeric speeches, and further unfold through a comparison with the Shield of Achilles and with an ode from Euripides’ Heracles. Aristotle appears to draw upon a traditional pattern enacting cyclical rebirth or revitalization. It is suggested that his puzzling insistence on “one complete action” in (...) plot is bound up with moment-to-moment performance. The poetics of Aristotle’s account suggest a pedagogy of mimesis. (shrink)

Em sua Filosofia do Direito, Hegel, ao tratar da instituição da família e de seu papel na educação dos filhos, intuiu um traço característico da subjetividade infantil: no coração das crianças haveria um desejo de pertencer ao mundo dos adultos. Trata-se de um desejo que poderíamos qualificar de mimético, no sentido da teoria de René Girard, já que as crianças adotam os pais como seus primeiros modelos. Na teoria hegeliana, esse elemento mimético adquire, junto à educação infantil, uma importante função (...) na formação da personalidade moral. A educação é uma exigência da própria criança, que possui de maneira inata o sentimento de não estar satisfeita em ser aquilo que é e o desejo de pertencer ao mundo adulto. Hegel, por isso, é um crítico da pedagogia que estagna as crianças na subjetividade infantil. Representando-as como perfeitas no estado de imperfeição em que se encontram, essa pedagogia perturba a espontânea carência do estado infantil, traço que impele naturalmente a criança ao autodesenvolvimento. O erro desse tipo de abordagem pedagógica está em não conceber o papel da mediação na formação da personalidade moral. Se o adulto, enquanto modelo, valoriza a criança em seu estado de infantilidade, é natural que ela adote essa mesma estima sobre si mesma, seguindo a opinião exterior. Logo, a valoração subjetiva, que deveria centrar-se no modelo ético, volta-se, pela mediação do modelo adulto, ao próprio Eu vazio da criança, que cresce concebendo- se como realidade autônoma, independente dos demais, gerando nela o desinteresse pelas relações substanciais do “mundo do espírito”. O narcisismo infantil seria, pois, uma decorrência da perda de referência ao modelo ético da vida adulta. Desse vazio “ontológico” da criança surge a necessidade de sua formação por meio do processo pedagógico. Os pais, que constituem o modelo imediato das crianças, não só devem estimular nelas a adoção do comportamento ético, como também punir as suas transgressões morais. A finalidade da punição não é a justiça enquanto tal. Trata-se, antes, de uma intimidação subjetiva e moral exercida contra a liberdade ainda encerrada na natureza, tendo como escopo elevar, na consciência e na vontade, a esfera da universalidade e da razão. Portanto, na educação dos filhos, o ético e o mimético são indissociáveis. Lendo Hegel a partir de René Girard, poder-se-ia usar o termo “mimeticidade” para designar essa unidade entre a imitação natural (subjetividade) e a promoção pedagógica e cultural de modelos comportamentais voltados ao Bem (moral objetiva). Pela adoção de modelos éticos, a criança tem a oportunidade de vivenciar a “eticidade” ainda sem oposição, como seu sentimento mais imediato, mais íntimo e “próprio”, vindo a adquirir, na vida adulta, a autonomia moral concreta de uma personalidade livre e racional, exercida em coerência com as demais. (shrink)

This paper concerns the theory of triple mimesis formulated by the contemporary French philosopher, Paul Ricoeur, in his three-volume book Time and Narrative. It is a hermeneutical interpretation of the classical Aristotle’s definition of mimesis from his Poetics. Ricoeur’s argument is aimed at proving, that the way an imitative transformation of the reality in narrative operates, presupposes a circular relation between living experience and a narrative, which mutually determine each other. The main aim of this paper is to (...) answer the question, how the communication between an author, a work and a reader should be viewed in the context of triple mimesis and what factors determine understanding of a mimetic work of art. (shrink)

Tentazione di Siracusa, "Tentación de Siracusa", es el título que eligió Jacques Derrida (1930-2004) para la breve, aunque magistral, conferencia que pronunció el 18 de enero de 2001 en Ortigia, en el Palacio del Senado siracusano. Allí fue convocado por las autoridades del Collegio Siciliano di Filosofía y por el entonces intendente de la comuna sícula, Giambattista Bufardeci, quien le otorgó en tal ocasión la ciudadanía honoraria de esa antigua y culturalmente variada urbe mediterránea, una ciudad atravesada milenariamente por la (...) tensión entre filosofía y política, que vio partir por mar, reducido a esclavo, a Platón, y que se manchó con la sangre de Arquímedes, derramada por un soldado romano invasor. La lectio derridiana, que propone sin ambages una nueva figura para la relación entre filosofía y política, abordando el fenómeno de la "mundialización" así como la pregunta por el sentido contemporáneo de la ciudadanía, debió esperar casi dos décadas para ver la luz. Recién en 2018 la editorial Mimesis, sello italiano de incuestionable prestigio, la hizo accesible dentro de su colección "eterotopie", dirigida por los profesores Salvo Vaccaro (Università degli Studi di Palermo) y Pierre Dalla Vigna (Università dell'Insubria). El texto fue traducido íntegro para su publicación por Francesco Garritano y Marina Machì (ambos de la Università della Calabria), quienes ofrecieron, como adelanto de su versión, un breve fragmento por primera vez en la edición del 21 de enero de 2001 del periódico italiano Repubblica, bajo el título Il tiranno e il filosofo). (shrink)

Che cosa vuol dire per le espressioni del nostro linguaggio avere un significato? Secondo un approccio oggi sostanzialmente standard in semantica, avere significato vuol dire prima di tutto avere un contenuto rappresentazionale, cioè poter rappresentare qualcosa. Secondo un inferenzialista come Robert Brandom, invece, le espressioni del nostro linguaggio hanno contenuto perché sono inserite in una rete di relazioni inferenziali, rispetto alla quale possono essere utilizzate per dare e richiedere ragioni. Il libro di Pietro Salis, Pratiche discorsive razionali, presenta e discute (...) alcuni degli aspetti più interessanti dell'inferenzialismo normativo di Brandom. Si tratta della seconda monografia in lingua italiana dedicata alla filosofia del linguaggio brandomiana dopo quella di Giovagnoli (2004). Per trovare elementi di paragone con il lavoro di Salis occorre allora guardare alle pubblicazioni in lingua inglese. Tra queste ci sono le raccolte di saggi curate da Stekeler-Weithofer (2008), Prien e Schweikard (2008), e Weiss e Wanderer (2010). Ma anche le introduzioni monografiche di Wanderer (2008) e Turbanti (2017). La prima di queste introduzioni, in particolare, è quella più simile al libro di Salis, soprattutto dal punto di vista tematico. (shrink)

This chapter aims to deepen Donald Schön’s insight about jazz playing as an example of what he calls “reflection-in-action” (RiA) by situating this notion within the enactive view of humans as linguistic bodies. Our main claim is that the knowl-edge or skills displayed by expert jazz musicians must be understood as aural and communicative in nature. After presenting the notions of RiA and linguistic bodies, we develop our view through a critical discussion of four statements from Schön’s passage on (...) jazz musicianship, before wrapping up and clarifying the position we are advocating. This way, we suggest a revised version of Schön’s concept, which we call “reflection in communicative jazz action.". (shrink)

Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion (...) of the ‘work of art’, e.g. Duchamp’s “readymade” and “institutional readymade”, which are linked to outsider art. In both cases, the creation of an object and the creation of an art piece are separate actions performed by different individuals. This paper attempts to tackle these problems and prove that the contemporary art does not relate primarily to the world, but mainly to the artworld. Thus, the path from art to the world goes through the artworld. (shrink)

The author points out to the rehabilitation of listening which occurs in Lyotard's philosophy in the field of his aesthetic analysis. The philosophical grasping of time and especially the instant is being explained in Lyotard through the listening mode and in invoking the aural experiences and the experiences of sound. The author suggests that the category of listening is often used in place of the category of aesthetic and as metaphor of the aesthetic perception. In contrast to seeing, listening (...) can be undertaken together with other sensual experiences and thus it allows for a more polyphonic experience. Listening, author maintains, is a very special type of experience, on one hand it is open and welcoming, on the other discrete and prone to solitude, qualitatively changing its course. (shrink)

In an effort to produce new and more sustainable technologies, designers have turned to nature in search of inspiration and innovation. Biomimetic design (from the Greek bios, life, mimesis, imitation) is the conscious imitation of biological models to solve today's technical and ecological challenges. Nowadays numerous different approaches exist that take inspiration from nature as a model for design, such as biomimicry, biomimetics, bionics, permaculture, ecological engineering, etc. This variety of practices comes in turn with a wide range of (...) different promises, including sustainability, increased resilience, multi-functionality, and a lower degree of risk. How are we to make sense of this heterogeneous amalgam of existing practices and technologies, and of the numerous promises attached to them? We suggest that a typology of biomimetic approaches would provide a useful hermeneutic framework to understand the different tensions that pull this variegated landscape in different directions. This is achieved through a critical analysis of the literature in different fields of biomimetic design and the philosophy of biomimicry, in order to derive conceptual and normative assumptions concerning the meaning and value of the imitation of nature. These two dimensions are then intersected to derive an analytical grid composed of six different biomimetic types, which enable the classification of existing and possible biomimetic approaches, practices, and technologies according to their specific conceptual assumptions and guiding norms. (shrink)

In this paper, I examine Adorno’s controversial claim that human rationality is inherently mimetic. To do so, I break this claim down into three puzzles (the natural historical puzzle, the metaphysical puzzle, and the epistemic puzzle) and consider each in turn. The first puzzle originates in Adorno’s assertion that in the course of human history the mimetic moment of human thought “is melted together with the rational moment”. So whereas, on his narrative, mimesis has become an intrinsic component of (...) human rationality, it appears that we are oblivious to this state of affair and unable to recognize the workings of mimesis in what we otherwise refer to as rationality. The second puzzle concerns the traditional metaphysical question regarding the possibility of knowledge. Adorno holds that the key to this question lies in the “mimetic moment of knowledge”, which he characterizes as the “moment of the elective affinity between the knower and the known.” The third puzzle concerns his views on how the mimetic moment of thought plays out in our epistemic practices. As he puts it, “consciousness knows of its other as much as it resembles that other,” which seems to entail that our very efforts to conceptualize objects somehow rely on imitative processes. I work out what I take to be the basics of Adorno’s understanding of mimesis and use them to make sense of each puzzle. I argue that Adorno’s insistence on the mimetic component of human rationality isn’t meant to promote more mimetic modes of comportment, but a reflexive awareness of the extent to which our rational activities already rely on imitative (or immersive) processes, even those we view as embodying the strongest claims to the contrary. (shrink)

This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of (...) class='Hi'>mimesis as other than enunciative speech (speech that makes truth claims, or representation) and his account of the final cause of tragedy in itself as plot, vis a vis its final cause as regards the audience, which is katharsis. Confusions arising from failure to see the otherness of representation and katharsis leads to an overly intellectualist understanding of the purpose of tragedy. (shrink)

Classical authors were generally artistic realists. The predominant aesthetic theory was mimesis, which saw the truth of art as its successful representation of reality. High modernists rejected this aesthetic theory as lifeless, seeing the truth of art as its subjective expression. This impasse has serious consequences for both the Church and the public square. Moving forward requires both, first, an appreciation of the strengths and weaknesses of the high modernist critique of classical mimetic theory, and, second, a theory of (...) truth which makes adequate reference to both subject and object. This paper argues that Lonergan offers just such an account of truth, and so cashes out the high modernist rejection of classical mimesis in Lonergan’s terms, thereby creating the opportunity for a synthesis of the two views. (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...) plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

In this article, we critically reflect on the concept of biomimicry. On the basis of an analysis of the concept of biomimicry in the literature and its philosophical origin, we distinguish between a strong and a weaker concept of biomimicry. The strength of the strong concept of biomimicry is that nature is seen as a measure by which to judge the ethical rightness of our technological innovations, but its weakness is found in questionable presuppositions. These presuppositions are addressed by the (...) weaker concept of biomimicry, but at the price that it is no longer possible to distinguish between exploitative and ecological types of technological innovations. We compare both concepts of biomimicry by critically reflecting on four dimensions of the concept of biomimicry: mimesis, technology, nature, and ethics. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

This paper is one (among many) approach to the question, “are AIs persons or are they conscious?” from a Heideggerian perspective. Here I argue for two claims. First, I argue that René Girard’s mimetic analysis of mitsein (being-with), one of Heidegger’s foundational concepts, illuminates what Heidegger takes mitsein to be. Second, I claim that this Girardian analysis gives us a way to answer the question of whether AIs have Dasein, to which I argue that the answer is negative. Specifically, I (...) claim that Dasein requires mitsein, and mitsein (according to Girard’s analysis) requires mimesis. Moreover, mimesis requires that the mimetic being finds truth in the mimetic object, that is, it comports in a meaningful way toward the unconcealed object being imitated by Dasein. But since AIs cannot comport in meaningful ways toward the object of imitation, i.e., they are not truth-apt, they cannot engage in mimetic behavior, hence cannot have mitsein. But, necessarily, Dasein is being-with-others, Therefore, AIs cannot have Dasein. If we assume (as I think Heidegger would) that every person has Dasein, we may justifiably conclude that AIs are not persons, at least from a Heideggerian ontology. (shrink)

Paleontological evidence suggests that human artefacts with intentional markings might have originated already in the Lower Paleolithic, up to 500.000 years ago and well before the advent of ‘behavioural modernity’. These markings apparently did not serve instrumental, tool-like functions, nor do they appear to be forms of figurative art. Instead, they display abstract geometric patterns that potentially testify to an emerging ability of symbol use. In a variation on Ian Hacking’s speculative account of the possible role of “likeness-making” in the (...) evolution of human cognition and language, this essay explores the central role that the embodied processes of making and the collective practices of using such artefacts might have played in early human cognitive evolution. Two paradigmatic findings of Lower Paleolithic artefacts are discussed as tentative evidence of likenesses acting as material scaffolds in the emergence of symbolic reference-making. They might provide the link between basic abilities of mimesis and imitation and the development of modern language and thought. (shrink)

Many assume that science and religion represent two worldviews in mutual conflict. These last decades however, the improved study of the social, psychological and historical dimensions of both science and religion has revealed that the two worldviews may not be as mutually antagonistic as previously assumed. It is important therefore to review carefully the very idea of a clash of worldviews. This paper seeks to make a contribution in this area by exploring the deeper, hidden attitudes and dispositions that are (...) involved in typical clashes between science and religion. The focus is primarily on two specific areas referred to by the expressions interdisciplinary mimesis and the art of living. The results of this research offer added support to the claim that the two worldviews are indeed in mutual tension as regards some aspects, but, as regards other aspects, they are in harmony and mutually supportive. (shrink)

The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting (...) to provide a systematic reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell. (shrink)

“Christianity is a μίμησις of the divine nature.” This definition of what it means to be a Christian, given by St Gregory of Nyssa in his letter De pro- fessione Christiana, employs a term commonly translated as “imitation” or “representation.” Even a brief study of some of the seminal sources of classical Greek thought, however, will show that the concept of mimesis surpasses any of these translations and effortlessly crosses the boundaries of the sphere of aesthetics, towards the fundamental (...) questions of epistemology, metaphysics, ontology, and ethics. An analysis of Gregory’s letter, together with the related treatise De perfectione, will then show his nuanced familiarity with the subtleties of mimesis, which he consciously employs to arrive at his definition of Christianity. With this in hand, I will argue that even some of Gregory’s most perplexing scriptural exegesis in his homilies on the Song of Songs grows out of his coherent concept of mimesis, which ultimately is of fundamental importance to Gregory’s anthropology, cosmology, and Christology. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

El desarrollo de las artes visuales durante el siglo XX desdibujó la frontera entre aquellos objetos y artefactos que llamamos obras de arte, y aquéllos que no son merecedores de ese título. Arthur Danto ha propuesto una teoría estética a la luz de la cual sería posible volver a definir los límites del arte. En este ensayo examino dos de los aspectos más problemáticos de la teoría: la importancia excesiva que Danto le otorga al concepto de mímesis y su concepción (...) teleológica de la historia del arte. Si atenuamos el papel de estos dos elementos, la teoría pierde gran parte de su poder explicativo. En las últimas dos secciones del ensayo arguyo que el mundo del arte al que Danto atribuye un papel central en el problema de la demarcación debe él mismo ser considerado un subproducto de las condiciones que determinan la naturaleza del arte en general. (shrink)