Agamben is hard to pin down both theologically and philosophically. He attempts to construct miraculous minutiae out of un-miraculous things. Hence this work is the act of profaning the unprofanable. What ontological stature, what imaginative configuration and what spatio-temporal coordinates this move articulates are less than forthcoming. Indeed it is possible that Agamben disavows these entirely in favour of a Benjaminian eternal 'as if' structure, one which sees in the most mundane the traces of an eternal and secular redemption. But (...) this remains problematic; this idiosyncratic moment seems devoid of any real comprehension or description of themes concerning the rest of us mortals, such as temporality, finitude or the spatial and imaginative presentation of that which promises to redeem us. (shrink)

From the comparative framework of writing on the meaning of ritual in the field of the history of religions, this essay argues that one of the major problems in Benjamin’s thinking is how to make certain forms of materiality stand out against other forms. In his early work, the way that Benjamin deals with this problem is to call degraded forms “symbolic”, and those forms of materiality with positive value, “allegorical”. The article shows how there is more than an incidental (...) connection with the recent approach to ritual in the field of history of religions, seeing that Benjamin too wants to set out the significance of certain material forms against those that are “ritualistic” and hence false. It is argued that he treats the latter in his essay on Elective Affinities and the former in his Trauerspiel. The key claim is that the way material forms stand out as meaningful is akin to the Kantian description of the aesthetic attitude, which identifies how certain formations warrant and attract reflective attention and underpin moral orientation. The point is significant since Kantian aesthetics is an object of polemical attention across Benjamin’s heterogeneous corpus. Moreover, the approach shows the main difficulty in Benjamin’s treatment of sensible forms: what are the criteria he uses to distinguish the “bad” way a sensible form has of being meaningful from the “good”? (shrink)

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

In the age of web 2.0, the university is constantly challenged to re-adapt its ‘old-fashioned’ pedagogies to the new possibilities opened up by digital technologies. This article proposes a rethinking of the relation between university and (digital) technologies by focusing not on how technologies function in the university, but on their constituting a meta-condition for the existence of the university pedagogy of inquiry. Following Ivan Illich’s idea that textual technologies played a crucial role in the inception of the university, we (...) will first show the structural similarities between university thinking and the text as a profanation of the book. Secondly, we describe university thinking as a type of critical thinking based on the materiality of the text-on-the-page, explaining why the text has been at the centre of university pedagogy since the beginning. In the third part, we show how Illich came to see the end of the culture of the text as a challenge for the university, by describing the new features of the text-as-code incompatible with the idea of reading as study. Finally, we challenge this pessimistic reading of Illich’s and end with a call for a profanatory pedagogy of digital technologies that could mirror the revolutionary thinking behind the mediaeval invention of the text. (shrink)

This is the second edition of the book with the same title, criticizing Cultural Anthropology approaches employed by Cultural Anthropologists to understand Indonesian adats and suggesting a new approach, i.e. perennialist approach to understand the adats well.

Teil I »Psychologische Ästhetik für transdisziplinäres Design« -/- Kapitel I »Empirische Ästhetik – Der Konflikt zwischen leichter Verarbeitbarkeit, sparsamer Codierung und neuronaler Aktivierung im Beobachtersystem. Eine Untersuchung über das Wesen der ästhetischen Erfahrung. -/- Jede Designpraxis verlangt täglich eine Vielzahl von Entscheidungen, welche die Wahl von „Etwas vor dem Hintergrund anderer Möglichkeiten“ darstellen. Diese lassen sich als Probleme einer Präferenz-Ästhetik interpretieren, wobei innerhalb eines Repertoires von Alternativen die attraktivste gewählt wird. Eine empirische Ästhetik ist somit ein notwendiger Bestandteil von Designtheorie. (...) Die Überlegung, wer in welcher Situation warum was bevorzugt, führt zur Forschungsfrage: »Was ist der elementare Mechanismus für eine ästhetische Erfahrung?« In der Literatur zur empirischen Ästhetik finden sich vier wesentliche Theorie-Gruppen: (1.) Es wird eine Präferenz für einfach zu verarbeitende Stimuli behauptet und z.B. mit der Processing Fluency begründet. (2.) Andere Ansätze erklären eine maximale Stimulation des Beobachters durch komplexe Objekte zum Ideal, was auch die ästhetische Erfahrung maximieren soll. (3.) Eine dritte Gruppe vermeidet die Probleme der ersten beiden, indem eine mittlere Komplexität als Präferenz behauptet wird. (4.) Und schließlich gibt es Ansätze, die auf eine integrierende Theorie letztlich verzichten und einzelne Phänomene bzw. Effekte katalogisieren. Eine Liste ungelöster Probleme formuliert die Minimal-Anforderungen an eine integrierende Theorie. Hiermit wird geprüft, ob bzw. inwieweit die Integrative Ästhetik von Schwarzfischer (2008 und 2014) jene Probleme lösen kann. Dieser Ansatz schlägt spezifische Re-Codierungs-Prozesse als basalen Mechanismus jeder ästhetischen Erfahrung vor. Hierzu wird ein Prozess-Modell entwickelt, welches die Integrative Ästhetik überprüfbar macht. Bei der Modellbildung werden manche Konzepte der Integrativen Ästhetik erweitert und andere präzisiert. Auch die Anwendungsmöglichkeiten werden durch das Modell vielfältiger, da es nicht nur als Erklärungsmodell, sondern zudem als Gestaltungsmodell einsetzbar ist. Insgesamt zeigt die Überprüfung der Integrativen Ästhetik und des Modells, dass die Gütekriterien in einem vielversprechenden Maß erfüllt werden. Die grundsätzliche Quantifizierbarkeit wird aufgezeigt sowie die Relevanz und die Anwendbarkeit für das Design nachgewiesen. Die Forschungsfrage kann somit als hinreichend beantwortet gelten: »Der elementare Mechanismus für eine ästhetische Erfahrung scheint ein Re-Codierungs-Prozess zu sein (der auf der Nutzung von In­varianzen basiert), welcher extensionale Daten zu intensionalen Gestalten transformiert, wobei eine Ressourcen-Entlastung stattfindet und der Gültigkeitsbereich der Codierung erweitert wird (was nach Jean Piaget als Dezentrierung bezeichnet wird) – was jeweils durch eine ‚Beobachtung zweiter Ordnung‘ festgestellt wird.« -/- Teil II »Transdisziplinäre Ästhetik im Dialog« -/- Kapitel II.A »Profane und heroische Beobachtungs-Experimente: Kunst-Ästhetik als methodisches Artefakt.« -/- Es reicht nicht, eine Liste mit vorgeblich ‚schönen Dingen‘ zu erstellen, um ‚das Schöne‘ zu verstehen. Piaget & Garcia (1989) unterscheiden drei Stufen in jedem Erkenntnis-Prozess: 1. isolierte Fakten, die unabhängig von einander analysiert werden; 2. konkrete Transformationen, durch welche diese Fakten mit einander verbunden sind; 3. eine Struktur, die alle denkbaren Fälle konstruierbar macht. Sie nannten diese drei Stufen ‚intra‘, ‚inter‘ und ‚trans‘. Dies kann auf das ‚höhere Erkenntnisvermögen‘ angewandt werden wie auf das ‚niedere‘. Wissenschaftlichkeit setzt nach Popper die Falsifizierbarkeit einer Theorie voraus – und damit Prognosefähigkeit. Prognosen müssen über den Bereich der bereits bekannten Fälle hinausgehen, und finden sich folglich primär in der Piaget-Phase ‚trans‘. Diese ist davon gekennzeichnet, dass es über die Gegenstände hinausgeht (‚trans-objekt‘). Zu häufig werden Artefakte nur beschrieben (‚intra-objekt‘) oder einzelne, zufällig bekannte Transformationen von Material in Artefakte bzw. von Artefakt in Verständnis aufgezählt (‚inter-objekt‘). Erst eine ‚Integrative Ästhetik‘ jenseits von zufälligen Semantiken, jenseits von sozialen Exklusions-Rhetoriken der Künstler und der ‚Leisure-Class-Eliten‘ (nach Veblen) und jenseits der Hierarchisierung von Wahrnehmungs-Modi kann den Anspruch einlösen (‚trans-objekt‘). Daraus folgen u.a. separierbare Semantiken spezifischem Maßstabs, die sich überhaupt erst dann z.B. als ‚konventionelle Kunst-Auffassung‘ beobachten lassen. Zentrierungen auf solche Semantiken können demnach „als Kunst missverstanden werden“ – obwohl sie keineswegs das allgemeine Prinzip repräsentieren, sondern stets nur Spezial­fall bleiben. -/- Kapitel II.B »Das Gehirn als Hypothesenmaschine – Ästhetische Prozesse als Selbst-Test im Beobachter-System.« -/- Die historische Trennung zwischen Techne, Poiesis und Aisthesis scheint nach der „konstruktivistischen Wende“ obsolet geworden zu sein. Jede Beobachtung kann als Handlung betrachtet werden und setzt adaptive Aspekte schon voraus. Jedoch fehlte bislang eine tragfähige konstruktivistische Ästhetik, deren Gültigkeitsbereich hinreichend groß ist: So ist die Beschränkung auf Kunst ebenso unnötig wie jene auf Kommunikation in sozialen Systemen (also auf „Kunst-Diskurse“) oder auf eine Produktions-, Werk- bzw. Rezeptions-Ästhetik. Die definitorische Auflösung des Kunst-Begriffes (z.B. bei Gernot Böhme) löst diese Schwierigkeiten nicht. Im Wesentlichen bleibt die resultierende phänomenologische Ästhetik eine Rezeptions-Ästhetik. Ähnlich begrenzt bleibt der Anwendungsbereich der Informations-Ästhetik mit kybernetischen Wurzeln. Auch die Einbettung in eine evolutionäre Ästhetik oder Neuroästhetik scheint problematisch. Daher muss eine „Integrative Ästhetik“ sehr unterschiedliche Sichtweisen in sich vereinigen. Inzwischen klassisch zu nennende kybernetische, systemtheoretische oder informations-ästhetische Ansätze verwenden meist die Logik einer Bottom-Up-Verarbeitung (Input-Processing-Output), wie sie auch die kognitive Psychologie der zweiten Hälfte des 20. Jahrhunderts dominierte. Dass laut Schlicht et al. (2013: S.475) selbst im visuellen Kortex nur ca. 5% der neuronalen Verknüpfungen bottom-up verschaltet sind (und der „Rest” von 95% top-down oder lateral arbeitet), stellt auch die empirische Ästhetik vor Probleme. Dieser Beitrag stellt jene Integrative Ästhetik vor, welche diese Antworten auf diese Fragen zu geben vermag – und den genannten Beschränkungen nicht unterliegt. Der elementare Prozess einer ästhetischen Erfahrung besteht hier in einer Re-Codierung von extensionalen Daten zu intensionalen Codierungen. Durch die sparsamere Codierung stellt dies eine erhebliche neuronale Entlastung dar und erhöht zudem beträchtlich den Gültigkeitsbereich des Codierten. Vom Beobachter-System wird dies subjektiv als Dezentrierung (nach Piaget) positiv erlebt. Zentral ist, dass es nun mit einem einheitlichen methodischen Rahmen möglich ist, entweder bottom-up die Wahrnehmung zu analysieren oder top-down die subjektive Motivation (z.B. die erlebte Autonomie oder die erlebte Entlastung) des Akteurs zu thematisieren. Die Richtung der Prozesse wird umkehrbar. Zudem wird die konstruktivistische Wahrnehmungs-Handlung zu einer Art von Selbst-Test des Wahrnehmungs-Systems: „Funktioniere ich sensorisch und kognitiv überhaupt? Funktioniere ich korrekt, also konsistent? Und, funktioniere ich effizient?“ -/- Kapitel II.C »Beobachtende Systeme – Dezentrierende Gestalt-Integration als Basis einer Ästhetik des Alltags.« -/- An der ästhetischen Erfahrung irritiert traditionell, dass der Effekt bekannt ist, nicht aber die Ursachen und der funktionale Mechanismus. Dies leistete Mystifikationen Vorschub, was zu diversen metaphysischen Kunst-Ästhetiken führte: Der Künstler als Schamane oder Magier. Dieser Beitrag möchte dagegen einen systemsemiotischen Ansatz für eine empirische Ästhetik vorstellen. Die aktive Rolle des Beobachters im Wirkungszusammenhang soll den Blinden Fleck erhellen, aufgrund dessen sich das Phantom eines passiven Rezipienten und „quasi-aktiver“ ästhetischer Objekte so hartnäckig halten konnte. Ausgehend von gestalttheoretischen Überlegungen wird Gestalt als implizite, algorithmische Codierung begriffen. Neuere empirische Ergebnisse der „Neuro-Ökonomie“ postulieren einen Effekt der „kortikalen Entlastung“ (bei der Forschung nach der Wirkung von Marken). Der hier vertretene Ansatz verknüpft nun beide Aspekte und glaubt, daraus eine konsistente Theorie für die empirische Ästhetik des Alltags entwickeln zu können. Es muss jedoch ein weiterer Aspekt hinzu genommen werden, den Piaget „Dezentrierung“ nennt. Ästhetische Erfahrung wird dann definierbar als das Erlebnis eines Umcodierungs-Prozesses – oder genauer: als das Erlebnis einer dezentrierenden Gestalt-Integration durch das beobachtende System. Sowohl beobachtende Systeme als auch Gestalt-Integrationen sind in unserem Ansatz als multiple zu denken. Eine semiotische Differenzierung ist nun entscheidend: Die herkömmliche Informations-Ästhetik thematisierte nur die syntaktischen Aspekte des Stimulus, ohne den Beobachter in seiner aktiven Rolle zu begreifen. Gestalt-Integrationen samt deren dezentrierender Wirkung sind jedoch auch in semantischer und pragmatischer Hinsicht zu finden. Diese werden im Beitrag dargelegt. Denn erst so kann die Vielschichtigkeit ästhetischer Erfahrungen erklärt werden, wo z.B. syntaktische und pragmatische Aspekte konkurrieren können. Auch vordergründig destruktive Akte und Artefakte sind dann als Gestalt-Integrationen anderer Dimensionen oder differierender Bezugssysteme begreifbar. (Dies streift etwa auch Fragen der Ressourcen-Allokation.) Zudem muss die Kontingenz von Beobachtungs-Maßstäben, Wahrnehmungs-Modi, Struktur-Determinanten (des beobachtenden Systems) und kultur-semiotischen Prägungen mit in Betracht gezogen werden. Erst hierdurch wird der Möglichkeitsraum potenzieller Gestalt-Integrationen (der eigentlich aus einem präsentationalen und einem repräsentationalen Raum besteht) prinzipiell beschreibbar. Wenn auch die Probleme bzw. Grenzen der praktischen Durchführbarkeit entsprechender Analysen nicht unterschlagen werden sollen: Die Möglichkeiten entsprechen gut den Erfordernissen zur ästhetischen Analyse des menschlichen Alltages – schließen die Lebenswelten von nicht-anthropozentrischen Seinsformen aber wohl methodisch aus. Dieser Beitrag möchte ich primär eine empirische Ästhetik zur Diskussion stellen, die mir als Rahmen für die weitere Forschung sehr leistungsfähig erscheint. Und doch ist nichts weniger als ein theoriebildender Ansatz das Vorhaben. Eine der Konsequenzen aus diesem Ansatz ist die These, dass es sich bei Kants Diktum vom „interesselosen Wohlgefallen“ zwar für das Individuum um ein Apriori handelt, bei der Gattung Mensch jedoch evolutionär um ein Aposteriori. (shrink)

In the *Science of Logic*, Hegel states unequivocally that the category of “life” is a strictly logical, or pure, form of thinking. His treatment of actual life – i.e., that which empirically constitutes nature – arises first in his *Philosophy of Nature* when the logic is applied under the conditions of space and time. Nevertheless, many commentators find Hegel’s development of this category as a purely logical one especially difficult to accept. Indeed, they find this development only comprehensible as long (...) as one simultaneously assumes that Hegel breaks his promise to let the logic do the leading. However, if Hegel were to in fact allow the logical development to be led by biological analogies at this point, problems would ensue. Not only would it contradict his own speculative method, which should secure the necessity of the categories, but it would also endanger the ontological generality of the category of life itself. Beyond undermining his method and the logical integrity of the category, however, I will argue that such a reading makes the transition to the next category of “cognition” unintelligible and problematic. My aim in the first part of this paper is to argue how logical life can be read as a pure category. I then argue in the second part how my reconstruction makes the transition to cognition intelligible without resorting to profane or supernatural interpretations. (shrink)

This paper was made as part of a wider research I made about rituals and their meaning and roles they are playing in the religious system of thinking. The way they are thought, displayed, precisely followed as instructed and believed, makes them a powerful social act that has been always provided by any religion, and also a tool for religion to make the human society what it is today. After I speak about what is a ritual and its religious content (...) in general, I am enumerating roles and functions of play and theatre in particular have, both for profane and religious purpose. Do we still use play/games as adults because they are rewarding, they give us pleasure? They are used as means of relaxation, or for continuing the age of childhood; or it is in our nature to play games in everything we do? In this paper I have emphasized play as adaptive potentiation or adaptive variability useful both in therapy, as in religious ceremony. The relation and comparison of rituals with play is due to the fact that playing is the most engaging behavior performed by man and animals, and it can be found as foundation of almost any ritualist activity. (shrink)

Times of Existential Discomfort are these, where man is still seeking for a spiritual path, between sacred and profane. What's the role of philosophy in this search, does she require some means that are in others hands? In th hands of powered people, between economic powershi and aesthetic extravaganza?

Abstract: In this paper, I respond to James Sterba’s recent book ‘Is a Good God Logically Possible?’ I show that Sterba concludes that God is not logically possible by ignoring three important issues: (a) the different functions of leeway indeterminism (and the political freedom presupposed by it) and autonomy (the two are very different things, even though both go under the name of freedom), (b) the differences in the conditions of agency in God and in creatures, (there is non-parity in (...) how each must apply the single moral law), and (c) the non-parity between our knowledge and God’s. I provide a brief summary of Sterba’s arguments, and I develop the following points: 1. Sterba’s argument against a Free-Will Defense hinges on his conflation of political freedom and autonomy; 2. Sterba’s crucial premise for his argument against soul-making theodicies (namely, that the “Pauline Principle” should be applied univocally across God and creatures) is false; 3. Sterba’s arguments against skeptical theism depend on his assumption that our knowledge is comparable to that of God. In each case, Sterba either does not recognize non-parity between God and creatures or does not recognize the difference between the profane (e.g., political matters) and the sacred, (e.g., spiritual matters having to do with the inner nature of the soul’s development). (shrink)

This study is an analysis of the relationship between homo religiosus and the Christian man, as it emerges from Mircea Eliade’s work. His ideas concerning the dialectics sacred-profane are related to homo religiosus, the man of the traditional societies. According to Eliade’s vision, one can use the term homo religiosus only within the context of his universe. Many mythical themes are present in the modern world, but it is difficult to identify them, going through the process of desacralization. The “mythical” (...) elements became Christian from the very beginnings and they are still significant for Christianity which characterizes itself by rendering value to history. The issue that Eliade analyses is whether Christianity can develop the sacred horizon of the archaic societies. As a conclusion of this research, one cannot say that there is a separation of homo religious from Christian man. The reader’s impression is that the scientist refers to Christianity as having lost the real meaning, as it was discovered in its early beginnings. Although the modern man still keeps the Christian elements, is far from what represented the Christian man from his early centuries. However, there are many common points of homo religiosus with the archaic societies. The critics treat the issue from some perspectives which are different from the ideas of the scientist from Chicago: either as being based on the protestant theology of “God’s Death” as the cases of Kenneth Hamilton and J. J. Altizer, either from partial position, the accusations not having a real basis. Dubuisson’s case is this way. This work was meant to be a step of an approach that attempts to discover correspondence between the scientist’s ideas and Christianity. (shrink)

Psychology today is in a state of confusion. It has failed to understand our true human identity and to provide a satisfactory answer to the perennial question: “Who AM I?”. The scope of present-day mental health treatment has been reduced to purely profane considerations, ignoring the fullness of what it means to be human, and neglecting the sacred dimension of life altogether. Due to mainstream psychology’s rejection of its metaphysical roots, our relationship with other sentient beings and the natural world (...) has been fractured, which has brought devastating consequences to our lives. In the interest of developing more holistic modes of therapeutic treatment, we need to restore the traditional notion of a “science of the soul” as it has been known since the earliest times across the diverse spiritual cultures of humanity. (shrink)

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

In occasione del bimillenario della morte del poeta latino Ovidio, l’articolo analizza l’influenza del poema delle Metamorfosi come fonte primaria di Giordano Bruno. L’esposizione della dottrina pitagorica, esposta nel libro XV del poema, si adatta perfettamente all’ontologia del Nolano e alla sua fede nella metempsicosi. In particolare il mito di Diana e Atteone viene adottato dal filosofo, nel De gl’Heroici furori, come ideale rappresentazione della propria esperienza conoscitiva. La tormentosa vicenda del cacciatore Atteone, tramutato in cervo per aver sorpreso la (...) Diana nuda, simboleggia in Bruno il passaggio dall’amore profano a quello divino. -/- On the occasion of the two thousandth anniversary of the death of the Latin poet Ovid, the article analyzes the influence of the poem of the Metamorphoses as a primary source of Giordano Bruno. The exposition of the Pythagorean doctrine, contained in the XV book of the poem, fits perfectly with the ontology of the Nolan and his faith in metempsychosis. In particular, the myth of Diana and Actaeon is adopted by the philosopher, in De gl'Heroici furori, as an ideal representation of his own cognitive experience. The tormenting story of the hunter Atteone, turned into a deer for having surprised the “naked Diana”, symbolizes in Bruno the passage from the profane love to the divine one. (shrink)

One way of viewing the organizing structure of the Confessions is to see it as an engagement with various texts at different phases of St. Augustine’s life. In the early books of the Confessions, Augustine describes the disordered state that made him unable to read any text (sacred or profane) properly. Yet following his conversion his entire orientation— not only to texts but also to reality as a whole—changes. This essay attempts to trace the winding paths that lead up to (...) Augustine’s conversion through his various encounters with texts (and individuals) and to examine his struggles both intellectual and spiritual along the way. In the final section, I bring Augustine into conversation with Hans-Georg Gadamer in order to highlight a number of hermeneutical continuities shared by premoderns and postmoderns. After comparing premodern and modern hermeneutical orientations, I conclude that Augustine’s approach to Scripture contrasts sharply with a (strict) modern grammatico-historical biblical methodology, whereas premodern hermeneutics share a number of continuities with Gadamerian and postmodern emphases. Lastly, in light of Gadamer’s famous statement, ‘all of life is hermeneutics’, I suggest that perhaps we could read Augustine’s life as affirming this claim. By taking a close look at Augustine’s story, I will attempt to show how pre-judgments, interpretative traditions and a dynamic/analogical rather than a static/univocal understanding of text (and reality) decisively affected his spiritual and intellectual vision—observations Gadamer would no doubt heartily affirm. (shrink)

The History of Religious Beliefs and Ideas represents the Eliadian opus magnum, as the Romanian scholar notes in the pages of his Journal. The work, published in three volumes, contains, from a historical perspective, the ideas about the sacred and the profane that Eliade developed in previous works from a phenomenological perspective. Although criticisms have been leveled at Mircea Eliade’s presentation of religious data in this monumental work, The History of Religious Beliefs and Ideas remains a point of reference for (...) both the study of the history of religions and the analysis of Eliadian thought and contribution to the discipline. (shrink)

With the appearance of Mircea Eliade's The Sacred and the Profane came the inauguration of theologians and philosophers questioning the preeminence of scholarly attention given to time to the virtual exclusion of space.

Gershom Scholem's commentary on Walter Benjamin's "Notes to a Study on the Category of Justice", first published in German and English in Metaphysics of the Profane, New York: Columbia University Press, 2003, pp. 174-180, with permission of Suhrkamp Verlag.

Trauma, which has become a hallmark of everyday life in the modern world, forms part of the broader mental health crisis that afflicts society today. It also, arguably, reflects a lost sense of the sacred. Throughout humanity’s diverse cultures, suffering is understood to be intrinsic to the larger fabric of life in this world; trauma, therefore, is a direct consequence of not being able to properly integrate suffering into one’s life. However, this is not to simply equate suffering with trauma, (...) or trauma with illness. The prevalence of acute traumatic suffering has always been a major cause of disbelief in religion. Yet the increased weakening of faith in the modern world has provoked a particularly severe spiritual crisis, which could be dubbed the “trauma of secularism.” Through recourse to traditional metaphysics, we can begin to understand the transpersonal dimension of this phenomenon and thus accurately assess, diagnose and provide adequate treatment. It will be argued that healing and wholeness cannot take place outside the purview of a “sacred science,” the spiritual dimension of which transcends the limitations of mainstream psychology and its profusion of profane therapies. (shrink)

The Indonesian concept of budaya and its derivatives such as budi, budidaya, kebudayaan, budiman, budi pekerti, as well as budayawan were sacred concepts long ago. However, with the emergence of Cultural Anthropology by Indonesian anthropologists from the 1960s onwards, the concept of budaya became desacralized. Its desacralization started when budaya was construed as culture by Indonesian cultural anthropologists, and Ilmu-Ilmu Budaya was interpeted as the Humanities. This paper explores the sacred concept of budaya prior to the emergence of the Cultural (...) Anthropology, then investigates the desacralization of the concept of budaya through the history of Indonesian Cultural Anthropology and finally attempts to offer a re-sacralization of the concept of budaya by revitalizing the concept through the Indonesian Hindu and Islamic metaphysical heritage. The re-sacralization of the Indonesian concept of budaya will provide a pathway to the emergence of a Budaya Anthropology which can correct some of the problems of the profanized Cultural Anthropology. (shrink)

This article aims to conceptualize the interplay between sarcasm, scatology and writing in Darija (Moroccan Arabic or Al-Maghribia) on the web in a post-uprising era. It focuses on the new Darijophone prose that emerged after 20 February 2011 protests in Goud and The Newزحيليكر‎ (The New Bumpkin). Originating with absurdist February 20 movement founder member, Mohammed Sokrat, this writing genre is realist, vulgar, profane, taboo-breaking, and borrows from the toilet space to poke fun at the schizophrenia, herd mentality and populism (...) that attend a modernizing society under a neoliberal regime. A vocabulary of trash, waste, filthy social types and risqué gags has informed a unique online minoritarian prose that is unpopular, yet widely read. This article studies the virtual politics and poetics of dirt and laughter in written Darija. Writing at the interstices of commitment and co-optation, this subcultural mode of knowledge production reveals Moroccan youth's heretofore suppressed yet incessant longing for change in a post-uprising context of disillusionment. (shrink)

The aim of this article is to bring to light some of the factors that allowed the emergence of secularization, and to understand to what extent and in what ways these factors contributed to the formation of the main lines of Spinozism. I will first examine the issues of secularization, emphasizing the importance of the transformations in the status of the Hebrew language during the Renaissance. I will then analyze the role that the Tractatus theologico-politicus may have had in European (...) culture. Finally, I will clarify Spinoza’s relationship to deism and atheism, specifying the nature of the controversies related to his religious attitude. (shrink)

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

In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.

Since Durkheim’s characterization of the sacred and profane as “antagonistic rivals,” the strict dichotomy has been framed in such a way that “being religious” evokes images of a life filled with profound meaning and value, while “being secular” evokes images of a meaningless, self-centered, superficial life, often characterized by materialistic consumerism and the cold, heartless environment of corporate greed. Consequently, to identify as “neither religious nor spiritual” runs the risk of being stigmatized as superficial, untrustworthy, and immoral. Conflicts and confusions (...) encountered in the process of negotiating a nonreligious/nonspiritual identity, caused by the ambiguous nature of religious language, were explored through qualitative interviews with 14 ex-ministers and 1 atheist minister—individuals for whom supernaturalist religion had formed the central core of identity, but who have deconverted and no longer hold supernatural beliefs. The cognitive linguistics approach of Frame Semantics was applied to the process of “oppositional identity work” to examine why certain identity labels are avoided or embraced due to considerations of the cognitive frames evoked by those labels. -/- Through the constant comparative method of grounded theory, a host of useful theoretical concepts emerged from the data. Several impediments to the construction of a “secular but not superficial” identity were identified, and a framework of new theoretical concepts developed to make sense of them: sense disparity, frame disparity, identity misfire, foiled identity, sense conflation, and conflated frames. Several consequences arising from these impediments were explored: (1) consequences of sense conflation and conflated frames for the study of religion; (2) consequences of conflated frames for religious terminology; and (3) consequences of the negation of conflated frames for those who identify as not religious, not spiritual, or not Christian. Additionally, four types of oppositional identity work were identified and analyzed: (1) avoidance identity work, (2) dissonant identity work, (3) adaptive identity work, and (4) alternative identity work. Finally, the concept of conflated frames was applied to suggest a new interpretation of the classic Weberian disenchantment narrative. (shrink)

Lockin as a way of private honesty and preparation to a jump in social theory and literature.

Studious Drift: Movements and Protocols for a Postdigital Education (Lewis and Hyland 2022) continues Tyson Lewis’s theoretical project of dismantling the learning metaphysics, this time in the digital sphere. The object of concern here is e-studying or digital studying. Lewis has shown elsewhere, in an article written with Cristopher Moffett (Lewis and Moffett 2021), that the university lecture can be circumvented and profaned by turning attention to the students’ gesture of notetaking.