Die Physikalisierung der Psychologie war für Carnap Teil eines Programms, das die Sonderstellung der Psychologie als Wissenschaft des menschlichen Denkens und Fühlens als Illusion entlarven und zeigen sollte, die Psychologie sei ein Teil der Physik wie alle anderen Wissenschaften auch. In etwas anderer Motivation zielte Carnaps Physikalismus ausserdem auf eine Überwindung der Trennung von Geistes–wissenschaften und Naturwissenschaften: Erwiese sich die Psychologie sich als physikalisierbar, wäre das ein wesentlicher Schritt für die Vereinheitlichung der Wissenschaften in Gestalt einer enzyklopädischen „Einheitswissenschaft“ überhaupt. Carnaps (...) Argument für die Physikalisierbarkeit der Psychologie als ganzer basierte auf der These der Physikalisierbarkeit der Graphologie als zentraler Teildisziplin der Psychologie. Die Graphologie sei der begrifflich am weitesten fortgeschrittene und deshalb am ehesten physikalisierbare Teil der Psychologie. Das verdanke sie in erster Linie den wegweisenden Arbeiten Ludwig Klages’. Erweise sich die Graphologie als physikalisierbar, stehe einer durchgehenden Physikalisierung aller Wissenschaften nichts mehr im Wege. Als Episode in Carnaps philosophischer Entwicklung ist dem Graphologieprojekt bis heute kaum Aufmerksamkeit geschenkt worden. Das ist ein Versäumnis, manifestiert sich in diesem Projekt doch der allgemeine Stil des Carnapschen Philosophierens besonders deutlich, nämlich von einer sehr abstrakten und idealisierten Vorstellung von Wissenschaft ausgehend weitreichende philosophische Folgerungen zu ziehen. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the (...) “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

We now found nine new topologies, such as: NonStandard Topology, Largest Extended NonStandard Real Topology, Neutrosophic Triplet Weak/Strong Topologies, Neutrosophic Extended Triplet Weak/Strong Topologies, Neutrosophic Duplet Topology, Neutrosophic Extended Duplet Topology, Neutrosophic MultiSet Topology, and recall and improve the seven previously founded topologies in the years (2019-2023), namely: NonStandard Neutrosophic Topology, NeutroTopology, AntiTopology, Refined Neutrosophic Topology, Refined Neutrosophic Crisp Topology, SuperHyperTopology, and Neutrosophic SuperHyperTopology. They are called avantgarde topologies because of their innovative forms.

This article is the attempt of an historically oriented analysis focused on the role of Nigerian music as a cultural hub for the export of African cultural influences into the Black diaspora in the United States and its anticipation by the Free Jazz/Avantgarde-scene as well as the import of key-values related to the Black Power-movement to the African continent. The aim is to demonstrate the leading role and international impact of Nigeria's cultural industry among sub-saharan African nation states and (...) its specific ability to absorb and incorporate elements of Western culture. -/- After a short discussion of African influences on jazz music in general and the socio-political, cultural, and artistic context in which Free Jazz emerged, examples for the articulation of African consciousness among influencing key figures such as saxophonist John Coltrane or the Art Ensemble of Chicago are being presented. Furthermore, the personal and ideological links between the Avantgarde Jazz-scene and the Black Power-movement - especially the Black Panther Party - are made transparent. -/- In a second step the central influence of the Nigerian drum-pioneer Babatunde Olatunji on the Africanization of US-Jazz musicians, his personal and creative impact on John Coltrane, as well as the Black Power-movement is being highlighted. On the other hand, Coltrane, Free Jazz, and the Black Panther Party are being portrayed as a central creative and ideological turn in the career and work of Fela Kuti and towards political activism and his efforts to implement and apply the Africa-inspired Black Power -struggle of the US on the African continent in order to fight post-colonial forms of oppression. -/- . (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic (...) work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

In this paper I focus on the topic of reproducibility (and irreproducibility) of aesthetic experience and effects, distinguishing it from the traditional subject of artifact reproducibility. The main aim is to outline a typology of the various kind of irreproducibility of aesthetic experience and to draw some implications for the aesthetic discussion concerning contemporary art. Depending on the type of artwork, we can define the difference (or the “ratio”) between aesthetic experience in the presence of the artwork and aesthetic experience (...) in its absence, that is, in the presence of its reproductions or documentations. For instance, in an easily reproducible painting the difference between experiencing the real artwork or its reproduction could be considered relatively small, while the difference between real experience and reproduction would be high in a complex roomfilling installation. This ratio could depend on ontological, material, or practical reasons and could also depend on the technological means of reproduction and documentation. In conclusion, following Groys (2017), I will suggest that the application of different "strategies of irreproducibility” testifies the urge to escape the replicability of aesthetic experience and the desire to generate forms of uniqueness and exclusivity in the fruition of art, and could therefore be seen as one of the reasons why art today is strongly based on documentations, installations or performative events. You really need to make the real effort to queue up and attend them, no substitute would be otherwise possible. (shrink)

Interjú az Új Symposion örökségéről, Jugoszláviáról, a vajdasági magyarság baloldali radikális hagyományáról, az avantgárdról stb.