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

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and (...) everyday aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth (...) provides magnificent inspiration to the creative human being in the furtherance of the world which s/he started to create millennia ago and has been the focal point of her/his most determined struggles to survive, to improve and to make life more meaningful despite myriads of troubles, adversities and tragedies. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of (...) beyng as an event. (shrink)

The book Theory and Practice of Contrast completes, corrects and integrates the foundations of science and humanities, which include: theory of art, philosophy (aesthetics, epistemology, ontology, axiology), cognitive science, theory of information, theory of complexity and physics. Through the integration of these distant disciplines, many unresolved issues in contemporary science have been clarified or better understood, among others: defining impact (contrast) and using this definition in different fields of knowledge; understanding what beauty/art is and what our aesthetic preferences depend on; (...) deeper understanding of what complexity and information are in essence, and providing their general definitions. Complexity means integration, value and goodness - concepts that seem to be neglected today. The book also has a high degree of integration/complexity, although each chapter introduces a new issue. The last chapter: "Binary Model of the Universe" draws attention to the need for including in physics the analysis of our mind and the resulting new possibilities, which include the mentioned (digital) model of the universe. Despite the difficult issues raised here, this study is written in accessible language and may be interesting not only for scientists and academics. (shrink)

Schelling’s Principle of Art returns us to an ancient epic sensibility, laying the foundations for reversing the unrealistic ‘modern mythology’ arguably at the core of humanity’s ecological/existential crisis. This contribution examines how, by detailing his systematic approach to constructing art ‘in the particular’ (art-forms/works). ‘Particularity’ is subject only to the reason inherent in the potences (or consequences) of the affirmation of the whole unity (Principle). Hence Schelling’s ‘affirming principles’ determine boundary conditions for his ‘mythological categories’, revealing why their generalities inform (...) a ‘scientific sequence’ for explaining the features of the Formative and Verbal arts (ie., all artforms, ‘for all time’). Examining specific examples shows how Schelling resolves key difficulties (appearance/reality, form/non-form, intentionality, and purpose) for assessing art’s higher meaning-value directionality; why phenomenology is key to understanding it; and how we arrived at the problematic modern ‘epic’ reversal of ancient universalising focusing our attention on ‘efficient’ over ‘final’ causes in art-making/admiring. Explaining practical application of the Principle-in-action expands on why Schelling’s ‘dialectical aesthetics’ presents a hitherto unrecognised radical advance on Kant’s. My conclusion summarises what shifts in attendance to the art object Schelling’s system demands, and why his Philosophy of Art offers a suitable framework for collectively re-worlding the world. (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, (...) I did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (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)

The article is an attempt to pinpoint the areas of Ludwig Wittgenstein aesthetic thought, in which he is crossing the borders principally imposed upon the method and the language of his philosophy. I am directing my attention to metaphysical and mystical motifs of his reflection devoted to aesthetics, the essence of art and the essence of reality. I wish to discuss this issue based on the texts of Arthur C. Danto containing analysis of chosen notions of Wittgenstein’s aesthetic (...) investigations. Additionally in this matter I am appealing to appropriate theses of Leszek Sosnowski and Wojciech Sady, concerning above issues. (shrink)

This chapter reconstructs the neo‐Wittgensteinian proposals, and re‐examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo‐Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically (...) with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment. (shrink)

In the first part of his magnum opus Hans Urs von Balthasarpresents his project of theological aesthetics where the experience of art becomes an entrance to a religious act and an ennobling way leading to the contemplation of God. Defining the essence of being human as a spiritual being directed towards God bears a deep ethical meaning in this consideration. H.U. von Balthasar’s reflection over the religious dimension of the essence of art is shaped within theology but at (...) the same time in the opposition to aesthetic theology which is de-scribed as ‘aesthetisation’ of the Mystery of Revelation. The art of music occupies a particular place in this reflection. For this reason Mass in B Minor BWV 232 by Johann Sebastian Bach, which is an emblematic example of the revelation of the glory of the Lord (Herrlichkeit), will be analysed not only from the perspective of philosophical or musicological aesthetics, but also theological aesthetics. This article outlines characteristic features of theological aesthetics specifically developed from traditional philosophical aesthetics whose range was extended by the human being’s relation to God. (shrink)

Phenomenological reflection on the essence of art goes towards the revelation of its ultimate Source, which is also the Source of spirituality of a man and, finally, of artistic works. Art occupies a prominent place in the works of Martin Heidegger, Hans Urs von Balthasar and Michel Henry, and what they have in common is pointing out the ability of transcending artistic work towards beyond-aesthetic and over-aesthetic dimensions. For those philosophers the work of art is a ‘way’ which may (...) lead human spirit towards Transcendence (the Absolute, God), but also towards the inner self. In this article the reflection over a religious dimension of the essence of art is extended by the analysis of St John Passion, BWV 245 by Johann Sebastian Bach, as a particular example of an artistic realization of phenomenologically rooted philosophical and theological reflection. (shrink)

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside, he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in (...) both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction. (shrink)

Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests (...) itself in the face of internal and external contradictions, seeking the opposition to the representation of the aesthetic form. Marcuse refutes the conceptions of some “orthodox Marxist aesthetes”, making, therefore, the defense in relation to the art when recognizing that it transcends the material relations. He still considers the literary currents of romanticism and surrealism fundamental to awaken critical consciousness, and that the autonomy of art (independence, freedom, and fantasy), integrate the categorical imperative that “things must change” against the realism of the Marxist aesthetes. In this sense, we intend to expose Marcuse’s critical to the Marxist esthetes in order to understand the critical function of art for the liberation struggle. Keywords: Aesthetics. Orthodoxy. Critic. (shrink)

Arthur C. Danto convincingly argued that works of art are not differentiated from common objects by aesthetic properties. With this he broke down the system of aestheticism, which discussed art as a sub-category of the aesthetic experience, looked for the universal, historically and culturally unconditioned significant form in works of art. At the same time, Danto’s theory can also be read as one considering the aesthetic point of view irrelevant for the essence of art. The paradigmatic starting point of (...) Danto’s theory is Andy Warhol’s Brillo Box. However it was the Brillo Box that created the opportunity for the questioning of this anti-aesthetic consequence, both Andy Warhol, when he created the Brillo Box, as well as Arthur C. Danto, when he chose it to be the starting point of his art philosophy, were driven by aesthetic motives. This inconsistency can be resolved by accepting that common objects are “transfigured” in the framework of an art theory, while adding that from the moment they have transfigured into a work of art, their (new) aesthetic properties become substantial. (shrink)

Two stories have dominated the historiography of early modern philosophy: one in which a seventeenth century Age of Reason spawned the Enlightenment, and another in which a skeptical crisis cast a shadow over subsequent philosophy, resulting in ever narrower "limits to knowledge." I combine certain elements common to both into a third narrative, one that begins by taking seriously seventeenth-century conceptions of the topics and methods central to the rise of a "new" philosophy. In this revisionist story, differing approaches to (...) the central subject matter of early modern metaphysics--knowledge of substances through their essences and causal powers--arise as a result of disagreements about the powers of the human cognitive faculties. Methodological writings are seen as attempts to direct readers in the proper use of their cognitive faculties. The early modern rejection of the Aristotelian theory of cognition ranks equally in importance with rejection of Aristotelian doctrines about nature. Skepticism is more often than not a tool to be used in teaching the reader the proper use of the cognitive faculties, or indeed in convincing the reader of the existence or inexistence of certain cognitive faculties or powers. Instead of early modern "epistemology" or "theory of knowledge," one speaks, with seventeenth century writers, of theories of the cognitive faculties and their implications for the possibility of human knowledge. The early modern rejection of Aristotelian logic can then be seen as reflecting a negative assessment about the fit between syllogistic reasoning and logic as an art of reasoning or thinking which refines the use of the cognitive faculties. -/- Central to this new historiography is the story of the relation between the intellect and senses as cognitive faculties or powers. The development of philosophy from Descartes to Kant can be portrayed as a series of claims about the power of the intellect to know the essences of things, with resulting consequences for ontology and the foundations of natural philosophy. I illustrate this revised narrative by comparing three conceptions of the intellect in three philosophical settings, provided by several late scholastic Aristotelians, Descartes, and Locke. I have two aims: first, to exhibit the central role played by the conception of intellect or understanding in these authors, and, second, to locate their discussions of the cognitive faculties in relation to recent understandings of psychology, epistemology, logic, mind, and their relations. Early modern writings do not easily fit into the modern categories of epistemology and psychology; more generally, the early modern concern with the workings of mind does not coincide with recent conceptions of naturalism. These findings can help us to see problems with our current categories. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

This paper explores the essence of the World and the essence of Life/Consciousness. Then derives from they the highest principles of value judgment and a series of ethics, providing a theoretical basis for guiding our future actions. The essence of the World consists of three aspects: 1. Existence, 2. Not nothingness, 3.Difference/Change. The essence of Life/Consciousness includes four aspects: 1.Has the distinction of "self" and "non-self".2. Has the change of the "new self" and the "old self".3. (...) Pursues to maintain "self".4. Pursue turning "non-self" into "self". Life and consciousness are completely identical. The pursuit of "Difference/Change" is the principle of the World. Beauty and art originate from the essence of the World and Life/Consciousness. The highest principle of value judgment for Life/Consciousness actions is that they should contribute to the growth of "Difference/Change". Ethics are inherent in Life /Consciousness. Low-level Life/Consciousness species have inherent rights. In the end, I argue that all of Life/Consciousness is a whole, which is also the consciousness or will of the World. Through the cognition of Life/Consciousness, the World achieves self-cognition and finally self-expansion. (shrink)

‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in Western academia, (...) I establish ‘spirit consonance’ as the rendering of ‘Qi Yun’. By examining texts on painting by significant critics in Chinese art history, and by referring to specific works by painters from the Six Dynasties up to the Yuan Dynasty, I present the merits and demerits of the different interpretations by Western experts, and explore the essence of ‘Qi Yun’. Once the painter successfully captures ‘spirit consonance’ as the essential character or ‘internal reality’ of the object, and transmits it into the work, ‘Qi Yun’ further implies the expressive quality of the work beyond formal representation. Additionally, the fusion of expressive and representative functions also leaves space for further explaining the aesthetic interaction among artist, object, work, and audience. From the Six Dynasties onwards, Chinese painters have practised the expressive pursuit beyond epresentation on the basis of the unification of ‘Qi Yun’ (spirit consonance) and formal representation, although spirit consonance was valued more highly than formal likeness. (shrink)

This paper provides an account of the evolution of the notion of comparatio in the main dialectical works of Valla, Agricola, and Vives. It highlights the elements of continuity and discontinuity and sheds light on the original contributions of Vives’s treatment. In Valla, Agricola and Vives, the notion of comparatio characterizes: a) the locus of the relation to another in the inventio method; b) the cognitive act through which one can grasp the relationships of similarity and difference between concepts; c) (...) the epistemic method for weighing the degree of plausibility of probable arguments. The paper also shows how Vives enhances the role of comparatio within dialectical art. Firstly, he attributes a pre-eminent position to the locus of the comparatio by virtue of the transversality of its application to all the other loci. Secondly, he identifies the explanation of the key concept of syllogism in the act of compering two sentences with a third. Finally, he finds the essence of the disputatio in the method of comparing equally probable contradictory arguments. This can rightly be considered an innovative element of the Vivesian dialectical treatment with respect to the most advanced European humanist movement of the first decades of the sixteenth century. (shrink)

This is the first book in a two-volume series. The present volume introduces the basics of the conceptual foundations of quantum physics. It appeared first as a series of video lectures on the online learning platform Udemy.]There is probably no science that is as confusing as quantum theory. There's so much misleading information on the subject that for most people it is very difficult to separate science facts from pseudoscience. The goal of this book is to make you able to (...) separate facts from fiction with a comprehensive introduction to the scientific principles of a complex topic in which meaning and interpretation never cease to puzzle and surprise. An A-Z guide which is neither too advanced nor oversimplified to the weirdness and paradoxes of quantum physics explained from the first principles to modern state-of-the-art experiments and which is complete with figures and graphs that illustrate the deeper meaning of the concepts you are unlikely to find elsewhere. A guide for the autodidact or philosopher of science who is looking for general knowledge about quantum physics at intermediate level furnishing the most rigorous account that an exposition can provide and which only occasionally, in few special chapters, resorts to a mathematical level that goes no further than that of high school. It will save you a ton of time that you would have spent searching elsewhere, trying to piece together a variety of information. The author tried to span an 'arch of knowledge' without giving in to the temptation of taking an excessively one-sided account of the subject. What is this strange thing called quantum physics? What is its impact on our understanding of the world? What is ‘reality’ according to quantum physics? This book addresses these and many other questions through a step-by-step journey. The central mystery of the double-slit experiment and the wave-particle duality, the fuzzy world of Heisenberg's uncertainty principle, the weird Schrödinger's cat paradox, the 'spooky action at a distance' of quantum entanglement, the EPR paradox and much more are explained, without neglecting such main contributors as Planck, Einstein, Bohr, Feynman and others who struggled themselves to come up with the mysterious quantum realm. We also take a look at the experiments conducted in recent decades, such as the surprising "which-way" and "quantum-erasure" experiments. Some considerations on why and how quantum physics suggests a worldview based on philosophical idealism conclude this first volume. This treatise goes, at times, into technical details that demand some effort and therefore requires some basics of high school math (calculus, algebra, trigonometry, elementary statistics). However, the final payoff will be invaluable: Your knowledge of, and grasp on, the subject of the conceptual foundations of quantum physics will be deep, wide, and outstanding. Additionally, because schools, colleges, and universities teach quantum physics using a dry, mostly technical approach which furnishes only superficial insight into its foundations, this manual is recommended for all those students, physicists or philosophers of science who would like to look beyond the mere formal aspect and delve deeper into the meaning and essence of quantum mechanics. The manual is a primer that the public deserves. (shrink)

Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more in the spirit of contextualism to understand looseness as context-dependent. This points to the general (...) problem—the context of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance theory. (shrink)

This chapter presents the meeting points and conflicts between Arthur Danto’s philosophy of art and George Dickie’s avowedly succeeding theory. Its focus is on the internalist-externalist debate on the ontology of the artwork as created and perceived within the artworld. It shows that both Danto and Dickie developed anti-formalist theories, that contributed to the demise of aesthetic modernism. Inverting the formalist distinction between internal and external properties of the artwork, they classified the sensuous properties of the artwork as secondary in (...) its essence and identity. Accordingly, Danto and Dickie’s definitions of art emerged from the challenge “to be consistent with art appearing in every possible way.” Both negated the Neo-Wittgensteinians’s proposal to forgo the project of defining art and found the then-new pluralism to be revealing of the essence of art, directing philosophy to art’s nonexhibited infrastructure – beyond the reach of the eye. Across from this, the chapter presents their opposing ideas as revealed through different analyses of the concept of the “artworld”: as an intellectual sphere by Danto versus an institutional one by Dickie. Danto’s internalist/intentionalist ontology begins with the mental and stretches to its embodying material. Opposing it, Dickie’s externalist ontology points to social practices as constituting the artwork, which is attributed with the status of “arthood” by agents in its social sphere. Accordingly, I claim, Danto’s ontology is more versatile than Dickie’s. -/- . (shrink)

In lieu of an abstract, see the following excerpt: -/- Though his work has until now gone untranslated and been largely ignored in English scholarship, the historian of philosophy François Châtelet played a major role in the development of French thought that is on par with that of his more well-known contemporaries. Born in 1925, Châtelet was founding member of the University of Vincennes, Paris VIII’s experimental department of philosophy alongside Michel Foucault in the aftermath of the 1968 student protests. (...) In 1983, he would establish the Collège Internationale de Philosophie in Paris along with other prominent philosophers, an institution that in Alessandra Campana’s words, is at “the forefront of militant and engaged critical thinking,” in which it has sought to “relocate philosophy at the intersection of science, politics, psychoanalysis, art and literature, jurisprudence, and economy.” Châtelet’s association with radical educational institutions and the interdisciplinarity of research undertaken at the latter both point to what can be understood to be the essence of his philosophical project: that the history of philosophy is also a politics of philosophy. La Grèce Classique, La Raison, L’État, which was first published in 1978 and appears here in translation for the first time under the title Classical Greece, Reason, and the State, is exemplary in this regard, providing a powerful critique of the history of philosophy and its purported Greek origins. As Deleuze argues, Châtelet reveals that “Athens was not the advent of an eternal reason, but the singular event of a provisional rationalisation. In this view, the essence of classical philosophy cannot be extended to the contemporary era—neither in its original form, or in a revised form that has been modified and updated across the passage of time. Therefore, by politicising philosophy and its history, Châtelet’s work also shows philosophy to be indicative of a particular cultural moment, rather than as an the state, philosophy, and the tyranny of the logos · isolated discipline cut off from the influences of material life. He establishes a form of ‘rational empiricism’ for conducting a history of political philosophy that rejects universality for potentiality. Said otherwise, his work is indicative of what might be called the poststructuralist critique of historical narrative surrounding the canon of western thought, a critique that Michael Hardt rightfully argues “has problematised the foundations of philosophical and political thought.” However, Châtelet has made important contributions to the poststructuralist approach to theorising the western tradition that remain novel and insightful to a contemporary audience, rather than simply being one of many to problematise philosophy’s purported foundations. (shrink)

The author examines the arguments for applicability of the limitation clause which specifies the requirements for limitation of constitutional freedoms and rights (Article 31 para. 3 of the Constitution) to the right to protection of life (Article 38). Even if there is almost a general acceptance of such applicability, this approach does not hold up to criticism based on the rule existing in the Polish legal order that treaty commitments concerning human rights have supremacy over national statutory regulations. Due to (...) an international pattern which does not provide application of the limitation clause to the right to life protection, despite the recognition — at the level of a constitutional standard — of applicability of the clause of Article 31 para. 3 to Article 38, and to protection of life in general, this will be made impossible at any attempt to formulate a statutory standard. He also points out the defectiveness of the reasoning leading to acceptance of certain limitations of a particular value (e.g. life) on the basis of the ex definitione exemptions existing in the international standard to the assumption of applicability of the limitation clause when shaping statutory standards in the Polish legal system. The discussed issues are related to the question of interpretation of the inviolability of human rights. This term takes different meaning in the context of: 1) inviolability of all human rights understood in abstracto as normative structures of a general and abstract nature; 2) right protecting certain values with no exception; 3) rights to which an application of the limitation clause is forbidden; 4) rights not subject to derogation; 5) inviolability of understood in concreto, as that is (here and now) due to the subject of dignity; 6) inviolable essence of freedoms and rights. One should also clearly distinguish between (7) the descriptive and (8) the normative meaning of inviolability. -/- Punktem wyjścia jest analiza argumentacji na rzecz tezy o stosowalności do prawa do ochrony życia (art. 38 Konstytucji RP), klauzuli limitacyjnej określającej warunki ograniczania konstytucyjnych wolności i praw (art. 31 ust. 3). Mimo niemal powszechnej akceptacji tej tezy, nie wytrzymuje ona krytyki opartej na pierwszeństwie, które w polskim porządku prawnym mają zobowiązania traktowe dotyczące praw człowieka, wobec regulacji ustawowych. Ze względu na wzorzec międzynarodowy, który nie przewiduje stosowania klasycznej klauzuli limitacyjnej do prawa do życia, mimo uznania - na poziomie standardu konstytucyjnego - stosowalności klauzuli z art. 31 ust. 3 do art. 38 i ochrony życia w ogóle, stosowalność tej klauzuli będzie uniemożliwiona przy każdej próbie formułowania standardu ustawowego. Autor zwraca uwagę na wadliwość wnioskowania prowadzącego od uznania dopuszczalności pewnych ograniczeń ochrony jakiejś wartości (np. życia) na podstawie wyjątków ex definitione obecnych w standardzie międzynarodowym, do tezy o stosowalności klauzuli limitacyjnej przy kształtowaniu standardu ustawowego w polskim systemie prawnym. (shrink)

In his Encyclopaedia Logic, Hegel affirms that truth is ‘usually’ understood as the agreement of thought with the object, but that in the ‘deeper, i.e. philosophical sense’, truth is the agreement of a content with itself or of an object with its concept. Hegel then provides illustrations of this second sort of truth: a ‘true friend’, a ‘true state’, a ‘true work of art’. Robert Stern has argued that Hegel's ‘deeper’ or ‘philosophical’ truth is close to what Heidegger labelled ‘material’ (...) truth, namely a property attributed to a thing on the basis of the accordance of that thing with its essence. It has since been common to think of Hegel's concept of ‘philosophical’ truth as ‘ontological’, ‘objective’ or ‘material’ in contrast to ‘epistemological’ or ‘propositional’ definitions. In this paper, I wish to add an important nuance to the existing literature on this subject: even though things have a truth-value for Hegel, the latter is always negative. I argue that Hegel's criterion of ‘philosophical’ truth, which is best formulated as ‘agreement with self’, is first and foremost intended to examine the truth-value of thought-determinations. I then argue that even though this criterion may also be applied to examine the truth-value of things (namely, even though things have a truth-value), things never fall under this definition. After reviewing several of Hegel's explicit remarks on the matter, I provide an alternative explanation to those features of Hegel's ‘philosophical’ truth which have led scholars to view it as a truth in things. Especially, I argue that what are generally seen as Hegel's examples (‘true friend’, ‘true state’, ‘true work of art’) are not intended as examples but only as imperfect illustrations of ‘philosophical’ truth. (shrink)

This article re-examines the theoretical basis for environmental and heritage interpretation in tourist settings in the light of hermeneutic philosophy. It notes that the pioneering vision of heritage interpretation formulated by Freeman Tilden envisaged a broadly educational, ethically informed and transformative art. By contrast, current cognitive psychological attempts to reduce interpretation to the monological transmission of information, targeting universal but individuated cognitive structures, are found to be wanting. Despite growing signs of diversity, this information processing approach to interpretation remains dominant. (...) The article then presents the alternative paradigm of hermeneutics through the works of Schleiermacher, Dilthey, Heidegger and Gadamer, to provide a broader interpretation of interpretation. This not only captures the essence of Tilden’s definition but construes heritage interpretation as a more inclusive, culturally situated, critically reflexive and dialogical practice. (shrink)

In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one realizes (...) that the second is a philosophical response to the first. In a ‘‘kind of warfare between philosophy and art’’ philosophy sees art as a rival, as a challenger to the supremacy of reason over the minds of men. Thus Danto describes the premise advanced in Book X of the Republic that art is mimesis, or that of The Ion that the artist lacks knowledge of what he does, as components of a powerfully disabling theory of art, designed not so much to come to terms with the essence of art as to neutralize its power through metaphysical exile, denying art causal efficacy or epistemic validity in the real world. And the history of aesthetics, in Danto’s view, continues this disenfranchisement, whether in the Kantian ephemeralization of art as an object of disinterested judgment, outside the realm of human practical and political concerns, or in the Hegelian ‘‘takeover’’ of art, in which it is demoted as an inadequate form of philosophy. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter one demonstrates how (...) effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

This essay unfolds on the fundamental question that invariably dominates today's discussions, about new technology and its ability to have a transformative effect in all areas of contemporary life and in human beings themselves. Obviously, the true qualitative novelty of the technological advances that occur before our eyes lies not only in the emergence of new artistic practices related to one or another scientific research. Its essence consists in the fact that these practices, when interacting with each other, begin (...) to generate a complicated systemic integrity, a new space of human existence. The effect of this symbiosis can be seen in the full use of knowledge about the foundations of living and non-living matter, as well as in the knowledge of the physical nature of the human being. On the other hand, those powerful technologies that have so far changed, for the most part, the world around us, now turn to human and non-human beings. With all that said, the question arises: How does the technologization and computerization of cultural techniques change the nature of knowledge and the affection of being with others (people, things, animals)? (shrink)

[A Czech Greenberg? Mukařovský and Aesthetic Formalism] This article revisits Tomáš Pospiszyl’s discussion of the split between the North American and the Czechoslovak postwar modernism as a difference between the views of two critics who dominated the American and the Czechoslovak art scene, respectively--Clement Greenberg and Jindřich Chalupecký. Pospiszyl convincingly traces the evolution of American art to what has been called Greenberg’s “formalism,” and the developments on the Czechoslovak scene to Chalupecký’s ideas about art as part of social social interactions. (...) Though the author of the article agrees with this analysis of Czechoslovak modernism as anti-formalist, he seeks to draw attention to the writings of the Czech literary theorist Jan Mukařovský, which were contemporaneous with Chalupecký’s and Greenberg’s--in particular Mukařovský’s 1944 lecture “The Essence of the Visual Arts.” The author provides a comparative analysis of Mukařovský and Greenberg, suggesting that the former was quite close to the latter’s “formalism.” This might seem incorrect, given that Mukařovský is considered to be a precursor of the semiotic theory of art, which is generally understood as antithetical to formalism. The solution, he argues, is to realize that Greenberg is subtler, hence not so "formalist” after all. At any rate, it turns out that in addition to Chalupecký’s “social” theory of art, Mukařovský had a more “formalist” alternative which – for well-known historical reasons – had no effect on the subsequent development of Czechoslovak modernism. (shrink)

Essentialism is one of the common approaches in the philosophy of technology. Based on this approach, technology has an independent essence, and knowing technology requires knowing this essence. The present article aims to criticize essentialism in the philosophy of technology in the framework of critical rationalism. The paper argues that essentialism is inadequate because it leads to irrationalism and determinism and destroys any ground for reform and critical discussion about technology; instead, it recommends sudden and irrational changes. Secondly, (...) it contains some presuppositions and false doctrines about the evolution of technology and its relation to humans. We will also explain that essentialists’ recommendation to take refuge in art or hold a free relationship towards technology is inconclusive in facing technological inconveniences. Instead, local considerations should be taken into account in the modification process, and they should be carried out piecemeal and in a critical context. (shrink)

In this paper, we argue that, in order to account for the apparently substantive nature of definitional disputes, a commitment to what we call ‘Socratic essentialism’ is needed. We defend Socratic essentialism against a prominent neo-Carnapian challenge according to which apparently substantive definitional disputes always in some way trace back to disagreements over how expressions belonging to a particular language or concepts belonging to a certain conceptual scheme are properly used. Socratic essentialism, we argue, is not threatened by the possibility (...) that some apparently substantive definitional disputes may turn out to be verbal or conceptual, since this pluralist strategy, in our view, requires a commitment to more, rather than fewer, essences. What is more, a deflationary, metaphysically ‘light-weight’ construal of the essence-ascriptions in question leads to a peculiar conception of the pursuit of metaphysicians as behaving like deceptive (or self-deceived) grammarians pretending to be scientists. Moreover, this deflationary attitude, we argue, spreads beyond metaphysics and philosophy more broadly to apparently substantive definitional disputes in the sciences as well as other in other disciplines, such as art criticism. (shrink)

The story of incarceration of some members of the society is a topical and current issue that requires urgent attention. The culture of some societies of the world, and in particular the Yala communities of Cross River State of Nigeria, seems to ignore the essence of human equality and dignity. The aim of this article is the documentation of stratification of the Caste practices among the three Yala communities in Cross River State. From this article, it is obvious that (...) for any society to be peaceful, progressive and to realize its full developmental capabilities and potentials, all forms of discriminatory practices must not exist. Nevertheless, where this is an acceptable socio-cultural practice of a people and in the light of present day realities of religious pluralism and globalization, the time has come that the Yala people should not preserve that aspect of culture which hinders its progress. (shrink)

In this paper I consider Simone Weil’s notion of attention as the fundamental and necessary condition for mystical experience, and investigate Iris Murdoch’s secular adaptation of attention as a moral attitude. After exploring the concept of attention in Weil and its relation to the mystical, I turn to Murdoch to address the following question: how does Murdoch manage to maintain Weil’s idea of attention, even keeping the importance of mysticism, without Weil’s religious metaphysical background? Simone Weil returns to the importance (...) of attention throughout her writing. To attend, for Weil, means to empty oneself of all that is personal, primarily one’s will, which Weil sees as the essence of the human individual. This act imitates God’s act of creation, considered as a withdrawal in order to let something other than himself exist. Since such withdrawal represents God’s supreme act of love, salvation for human beings lies in the attempt to do likewise. By giving up one’s will, while desiring God with all of one’s soul, one creates the conditions for God to descend into the soul. This ‘passive activity’ is attention. Weil’s writings had a deep impact on Iris Murdoch’s moral philosophy. In particular, Weil’s concept of attention is carried into Murdoch’s thought almost unchanged, with one striking exception: the absence of God in Murdoch’s system. Just as surprisingly, Murdoch at the same time maintains that mysticism and spirituality are crucial for morality, nor does she wish to sever the connection between attention and mysticism. Is Murdoch being inconsistent? I believe not. But the idea of attention as a mystical concept, within a metaphysics which has no room for God, requires further examination. For Murdoch, attention is the central capacity of the morally good person. Attention is, like in Weil, connected with an emptying of the self (for Murdoch the Ego) and a renunciation of will, in order to let something external make an impression in the subject. However, in Murdoch’s philosophy such external impression is not given by God, but by reality itself. Thus far, it appears, the notion of mysticism would be unnecessary. Yet for Murdoch reality is not something that we passively perceive, but something that requires a moral faculty – attention – made up of selflessness and desire for the good, in order to be apprehended. Two elements of mysticism then begin to surface: firstly, apprehension of reality requires a faculty that is not purely intellectual, but that involves the whole of the individual, including intuitions that one may be unable to explain (which Murdoch is happy to call ‘the soul’); secondly, the reality thus apprehended is considered as transcendent, insofar as its truth, infinitely distant, transcends the individual’s complete grasp. Thus the mystic, in Murdoch’s system, is regarded as an ideal moral person, not because s/he is guided by God, but because of his/her selfless ability to attend to the world beyond oneself and intuit its moral and metaphysical truth. (shrink)

This paper has been presented at the Charles S. Peirce Society’s 10-Minute Thesis Initiative: “His Glassy Essence in Relation” on February 18, 2023, where papers were also presented by Professor Doctor António Manuel Martins and Professor Doctor Mohammad Shafiei, respectively affiliated to the Coimbra Institute for Philosophical Studies and Shahid Beheshti University. -/- The edition “His Glassy Essence in Relation” of the Charles S. Peirce Society’s 10-Minute Thesis Initiative has been jointly organized by Aaron Wilson, António Manuel Martins, (...) Mohammad Shafiei, Richard Kenneth Atkins, and Robert Junqueira. The second, the third, and the last all presented papers, while the first one presided over the proceedings. The second to last was responsible for creating the bridge that enabled it all to take place. -/- The 10-Minute Thesis Initiative is an ongoing cycle of the Charles S. Peirce Society. This edition in particular benefited from the collaboration of the Coimbra Institute for Philosophical Studies and the Shahid Beheshti University. This text has been published in PhicaRe (Philosophy & Care Repository) of the Institute for Philosophical Studies of the Faculty of Arts and Humanities of the University of Coimbra. -/- How to cite (Chicago Manual of Style 17th Edition): Junqueira, Robert. “Peirce and the Coimbra Jesuit Course: A Bond Far More Pervasive Than Commonly Believed.” In PhicaRe (Philosophy & Care Repository), 1–12. Coimbra: Institute for Philosophical Studies, 2023. DOI: 10.5281/zenodo.7607786. (shrink)

In his text, “The Question Concerning Technology”, Heidegger argues that modern mind is unaware of Being’s self-destining which determines Dasein’s relation to their own essence and that of other beings because it is in a delusion of being an ‘efficient cause’. A bluntness of this kind not only endangers human-freedom but also puts natural entities at the risk of losing their authenticity since the modern mode of production regards nature as a reserve that is constantly in the service of (...) human-doings. Accordingly, the discussion carried out in this article is, despite his criticism of the conception of ‘agency’ underlying western metaphysics, whether or not Heidegger overcomes the problem of anthropocentrism in his own philosophy. (shrink)

The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

Starting out from the ontology of human work set out by Marx in Das Kapital, the paper seeks to analyse the relations between the artist and his actions and aims, the work of art he produces, and the audience for this work. The paper concludes with a discussion of the problem of creativity in the arts, drawing on ideas of Roman Ingarden and other phenomenologists.

The book, which constitutes part of the current feminist research as broadly understood, deals in particular with issues related to the philosophical approach to women’s experience. The main thrust of the research is to ask questions such as: What is women’s experience? Is it generally possible to speak of women’s typical experiences? Does it influence knowledge, and if so, how? Does it influence women’s perception and interpretation of art, and if so, how? And finally, taking a broader perspective: can women’s (...) experience serve as a basis for distinguishing philosophical theories specific to women? Within the framework of feminist philosophy developed since the 1960s and 70s, researchers have employed the concept of women’s experience, but this concept has not yet been comprehensively elaborated and defined. Importantly, women’s experience also plays an essential role in the project of feminist esthetics, whose isolation from traditional esthetic reflection has been proposed by certain feminist authors. Therefore, the book also discusses the problem of the relationship of women’s experience in the feminist approach to the feminist esthetics postulated by researchers both male and female. The book takes the position that feminist philosophy is an integral part of traditional philosophical research, a part in which the feminist perspective is applied. This perspective is understood as a theoretical research tool, applied in the humanities and social sciences, in order to unmask the gender-related elements in traditional discourses and to determine their impact on the results of the conducted research, i.e., the knowledge obtained thereby. In this sense, the feminist perspective is of an evaluative and critical but also transformative nature, because the purpose of its application is to appreciate and highlight women and the phenomenon of womanhood as well as to incorporate gender-related categories within philosophical reflection and academic research. This goal is expressed in the practical demand for a transformation of sociopolitical practice and theory that takes women’s ways of experiencing reality into account. In this approach, the feminist perspective paradoxically brings us closer to the attainment of more universal, holistic, and gender-transcending knowledge. The order of the considerations presented in the book was dictated by their main objective: a philosophical approach to and description of women’s esthetic experiences. The first part comprises a reconstruction of the historical development of feminism, in which three waves of feminism―which, from the perspective of a contemporary researcher, constitute a historically complete field of research―are discussed in a synthetic manner. The first part of these considerations concludes the introduction to feminist philosophy, specifically through the reconstruction of selected critical arguments advanced by feminist researchers regarding the traditional theory of cognition. The second part of the book covers issues in the field of feminist philosophy. The considerations presented here are focused on the concept of women’s cognitive experience, of which women’s experience of an esthetic character constitutes a particular type. Hence, studies of feminist epistemology are presented first, followed by studies of feminist esthetics. Analysis of the esthetic experiences of women is carried out in two stages: first, through reference to a philosophical approach to women’s cognitive experiences, and second, on this basis, through indicating fundamental differences between feminist and androcentric understandings of esthetic experiences. Although critical references to feminist ideas and solutions appear in many places in the book, on the most general level the considerations presented here are consistent with the feminist ideal of merging theory and practice. Feminism, in essence, has grown from socio-political practice and evolved toward detailed philosophical and scientific theories. Importantly, these theories are continually being revised and creatively developed. Feminist researchers refer to women’s life practices because it is the latter that determines whether a given theory adequately addresses problems affecting women. Therefore, the research presented in the book is focused on women’s experiences, which, in the author’s opinion, constitute the reference point for any and all reflections taking the feminist perspective into account. -/- . (shrink)

This article attempts to think of thinking as the essence of critical education. While contemporary education tends to stress the conveying of knowledge and skills needed to succeed in present-day information society, the present article turns to the work of Theodor W. Adorno to develop alternative thinking about education, thinking, and the political significance of education for thinking. Adorno touched upon educational questions throughout his writings, with growing interest in the last ten years of his life. Education, he argues (...) following Kant, must enable students to think for themselves and to break free of the authority of teachers, parents and other adults. Nevertheless, in his discussions of education Adorno says little about the nature of thinking, and the secondary literature on his educational theory addresses this question only cursorily. Important claims on the nature of thinking do appear elsewhere in Adorno's work. From his early writings up to Negative Dialectics, Adorno is preoccupied with thinking, sketching the outlines of critical-dialectical thought. Still, these reflections rarely touch upon educational questions, and the Adorno scholarship has yet to establish this link. Unlike studies which read Adorno's educational thought against the backdrop of the history of education and the German Bildung tradition, or in relation to art and aesthetics, the present article brings together Adorno's ideas on education and thinking in an attempt to contribute both to the Adorno scholarship and to the growing field of education for thinking. (shrink)

There is a common sense in which words like person or personhood, autonomy, agency and responsibility are used. Talking of these terms merely as words does not reveal the essence of the term. Therefore, these terms have to be treated as concepts and this paper intends to talk about the use of these concepts with a greater philosophical interest with reference to Harry G. Frankfurt’s philosophy of action.

Interest in “the flesh” (Leib, la chair) in phenomenological research leads to revealing the original (ursprünglich) and non-phenomenal essence of the very appearance. Contemporary phenomenological aesthetics is heading in the same direction. While describing the intentional content of particular, i.e. subjectively “embodied” aesthetic objects, it reveals the ultimate origin (Ursprung) thanks to which the appearance of phenomena is possible at all. At the same time, revealing the ultimate origin — differently named but always meaning the furthest horizon of the (...) possibility of the appearance of phenomena — sometimes claims to be called “first philosophy”. However, such ambitious cognitive aspirations of phenomenological aesthetics may arouse suspicion. This is why, first, we should ask about its differentia specifica and its position among other types of aesthetics, and then consider whether its most significant essential statements are not just as insightful as questionable. I argue for admitting that phenomenological aesthetics has the broadest cognitive horizon and at the same time for limiting its validity for individual actualizations (concretions) of potentiality (potentia) of given phenomena. I also point out that the basic cognitive procedure within phenomenological aesthetics is reductive reasoning, which goes in the opposite direction to logical entailment. (shrink)

The dominant view amongst contemporary Western philosophers about the essence of a natu­ ral object is that it is constituted by its intrinsic properties. The ontological approach salient in the African philosophical tradition, in contrast, accounts for a thing’s essence by appeal to its relational properties. The Afro­relational ontology is under­developed, with the primary aim of this article being to help rectify that weakness. Specifically, this article’s aims are: to articulate an African approach to understanding the essence (...) of a concrete, natural thing in terms of its relationships; to illustrate the Afro­relational approach with the examples of the self and of water; to contrast the Afro­relational characterization of the essence of the self and of water with a typically Western construal in terms of their intrinsic properties; and finally to provide an initial defence of the Afro­relational approach, both by responding to some objections facing it and by providing some new, positive reasons to take it seriously. (shrink)

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

In the first book of the Prior Analytics, Aristotle sets out, for the first time in Greek philosophy, a logical system. It consists of a deductive system (I.4-22), meta-logical results (I.23-26), and a method for finding and giving deductions (I.27-29) that can apply in “any art or science whatsoever” (I.30). After this, Aristotle compares this method with Plato’s method of division, a procedure designed to find essences of natural kinds through systematic classification. This critical comparison in APr I.31 raises an (...) interpretive puzzle: how can Aristotle reasonably juxtapose two methods that differ so much in their aims and approach? What can be gained by doing so? Previous interpreters have failed to show how this comparison is legitimate or what important point Aristotle is making. The goal of this paper is to resolve the puzzle. In resolving this puzzle we not only learn more about the relationship be- tween division and the syllogistic in Aristotle. We will also learn something about the motivation for the syllogistic itself, by seeing the role that it plays in his philosophy of science. (shrink)

This paper attempts to argue that it is categorization, not generalization, that is more valuable by examining essence, interest, ontology, rationalism, and truth. While generalization is invariably oversimplified, categorization gives an exact insight with a fine grain into the entities by referring to their intrinsic properties. Categorization supplies an ordered, transparent form for knowledge through a rationalist approach, thereby arriving at clearer and more accurate representations of reality. The importance of categorization lies in its philosophical contribution to differentiating things (...) in the world, increasing understanding of related complexities, and hence showing it to be superior to generalization. (shrink)

In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no exception. (...) I would therefore like to return the favour. I will place Puolakka’s remarks under critical examination and in the process hope to rephrase, refine, and defend some of my original claims. First, however, I will briefly restate my reading of Danto’s ideas on the end of art. (shrink)