Resumen El propósito del presente ensayo es explorar la comprensión de technê que Epícteto asocia con la expresión technê peri bion ("arte/técnica de la vida"), utilizada por él para determinar tanto la "materia" de la que se debe ocupar la filosofía como el tipo de actividad que ha de aplicarse a dicha materia. Con base en dicha exploración, el ensayo defiende la tesis de que la filosofía de Epícteto acusa un cierto talante individualista que la acerca a conocidas variantes modernas (...) de la filosofía como arte de vivir.It is the purpose of this essay to inquire into the understanding of technê which Epictetus links with the expression technê peri bion ("art of living") used by him to determine both the (subject-) "matter" with which philosophy deals and the kind of activity to be duly applied to such matter. Based upon this inquiry, the essay upholds the thesis that Epictetus' philosophy bares an individualist spirit close to well-known modern versions of philosophy as an art of living. (shrink)

A tono con esta afortunada relevancia de las mujeres (hay un gran estallido en todo el mundo del arte y la literatura de magníficas calidades, hechos por mujeres), vienen aquí cinco artistas argentinas: Carla Rey, Silvana Blasbalg, Romina Linder, Gabriela Juárez y Ana Lía Werthein, de entre muchas otras artistas plásticas que pertenecen al colectivo Instantes Gráficos, presidido y fundado en la ciudadbonaerense desde 1999 por la también artista Carla Rey.

I argue that Plato’s deployment of the resumptive phrase πάλιν ἐξ ἀρχῆς illuminates the philosophical significance of his art of transition in Socratic dialogues. These explicit calls for a new beginning often appear when a conversation fails to account for two particular elements of ordinary experience: assumptions about whole-part relations and about the interlocutor’s self-conception as a being responsive to basic rational and normative distinctions. Returning to the archē is a form of ἀνάμνησις, reminding us that these assumptions constitute true, (...) but inarticulate, opinions of a fundamental kind. They are the preconditions for discourse that philosophical διαλέγεσθαι must preserve and ground. (shrink)

I argue that Plato’s deployment of the resumptive phrase πάλιν ἐξ ἀρχῆς illuminates the philosophical significance of his art of transition in Socratic dialogues. These explicit calls for a new beginning often appear when a conversation fails to account for two particular elements of ordinary experience: assumptions about whole-part relations and about the interlocutor’s self-conception as a being responsive to basic rational and normative distinctions. Returning to the archē is a form of ἀνάμνησις, reminding us that these assumptions constitute true, (...) but inarticulate, opinions of a fundamental kind. They are the preconditions for discourse that philosophical διαλέγεσθαι must preserve and ground. (shrink)

This handbook explores the ways biomedicine and pop culture interact while simultaneously introducing the reader with the tools and ideas behind this new field of enquiry. From comic books to health professionals, from the arts to genetics, from sci-fi to medical education, from TV series to ethics, it offers different entry points to an exciting and central aspect of contemporary culture: how and what we learn about scientific knowledge and its representation in pop culture. Divided into three sections the handbook (...) surveys the basics, the micro-, and the macroaspects of this interaction between specialized knowledge and cultural production: After the introduction of basic concepts of and approaches to the topic from a variety of disciplines, the respective theories and methods are applied in specific case studies. The final section is concerned with larger social and historical trends of the use of biomedical knowledge in popular culture. Presenting over twenty-five original articles from international scholars with different disciplinary backgrounds, this handbook introduces the topic of pop culture and biomedicine to both new and mature researchers alike. The articles, all complete with a rich source of further references, are aimed at being a sincere entry point to researchers and academic educators interested in this somewhat unexplored field of culture and biomedicine. (shrink)

Machine learning (ML) is increasingly used to enhance production systems and meet the requirements of a rapidly evolving manufacturing environment. Compared to larger companies, however, small- and medium-sized enterprises (SMEs) lack in terms of resources, available data and skills, which impedes the potential adoption of analytics solutions. This paper proposes a preliminary yet general approach to identify low-cost analytics solutions for manufacturing SMEs, with particular emphasis on ML. The initial studies seem to suggest that, contrarily to what is usually thought (...) at first glance, SMEs seldom need digital solutions that use advanced ML algorithms which require extensive data preparation, laborious parameter tuning and a comprehensive understanding of the underlying problem. If an analytics solution does require learning capabilities, a ‘simple solution’, which we will characterise in this paper, should be sufficient. (shrink)

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

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

The year Leo Strauss published "Persecution and the Art of Writing" (1941), he prepared a lecture ("German Nihilism") that he never published. An analysis of this lecture shows that Strauss hadn't fully mastered the art of writing he'd discovered in others: his secrets are too exposed. In the context of "German Nihilism," it becomes clear that "Persecution and the Art of Writing" is about liberal persecution of authoritarianism, no the reverse, as liberals would assume. In response to recent (...) apologias presenting Strauss as a liberal who didn't "write between the lines," a Strauss-style reading of "German Nihilism" disproves both claims. (shrink)

When, in 1735, Alexander Gottlieb Baumgarten added a new discipline to the philosophical system, he not only founded modern aesthetics but also contributed to shaping the modern concept of art or 'fine art'. In The Founding of Aesthetics in the German Enlightenment, Stefanie Buchenau offers a rich analysis and reconstruction of the origins of this new discipline in its wider context of German Enlightenment philosophy. Present-day scholars commonly regard Baumgarten's views as an imperfect prefiguration of Kantian and post-Kantian (...) aesthetics, but Buchenau argues that Baumgarten defended a consistent and original project which must be viewed in the context of the modern debate on the art of invention. Her book offers new perspectives on Kantian aesthetics and beauty in art and science. (shrink)

Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on (...) art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music's autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music."--Publisher's description. (shrink)

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide Hauser with (...) evidence of idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

This work tells the story of the rise of the modern German environmental imagination, with particular emphasis on its narrative and visual components.

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development (...) determined by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

Lozano-Vásquez, Andrea y Meléndez, Germán, comps. Convertir la vida en arte: una introducción histórica a la filosofía como forma de vida. Bogotá: Universidad Nacional de Colombia, 2016. 389 pp.

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What (...) they shared was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe. (shrink)

This article sheds light on the relationship between religious philosophy and music to emphasize the formulation of religious emotions in art songs. This study's theoretical framework is based on the "Theory of Religious Philosophy and Music" Using these concepts, this paper explores the religious feelings associated with German and Austrian Art Songs by Bach and Gounod's "Ave Maria." The religious emotions of connectedness with God, serenity and love, faith in the heavens and angels, and the assistance of Christ and (...) the Virgin Mary in "Ave Maria" are ultimately a means of bridging music and religious philosophy. (shrink)

This 1935 book studies the powerful influence exercised by Ancient Greek culture on German writers from the eighteenth century onwards.

Disintegration and integration processes of German culture of the end of XX and beginning of XXI are analyzed by giving examples of stage interpretations of mythological plots in theatres of present-day Germany. It is stated that pluralism and multidimensionality of the spiritual experience of modern cultural workers, both writers (such as V. Braun, S. Schutz, B. Strauss etc.) and leading producers (D. Dorn, S. Nubling and others) contribute to the drawing up of a special syncretic style of theatre staging, (...) first of all with the use of the ancient material which is appropriate for it. Ancient myth, as one of the steadiest constants of the European literature, gives a universal key to the interpretation of various cultural and ethic-aesthetic phenomena that are irredundant to nothing else. There is a sociocultural context in which German spectators nowadays try to comprehend these dramaturgy phenomena; and there is a genuine stage director interpretations of them (in Aachen City Theatre, Dramatic Theatre of Hannover, Munich Chamber Theatre etc.) that not only lead to the decanonization of the classic model, but also pinpoint problematique of these performances. (shrink)

The essence of expressionism.--The vivifying of space.--A candidate for immortality [Otto Braun]--The machine as slave and master.--The "absolute" poem--A pæau against the age.--The architecture of aspiration.--The visible symphony.--Figures of war and forces of death.--The laughing synthesis.--Activistic architecture.--The dynamic dramatist.--The intensive Shakespeare.--The chromatic "Othello".--The drama on fire.--"The machine-storemers."--The organization of the spirit.

The path taken by German philosophy in the twentieth century is one of the most exciting and controversial in the history of human thought, by turns radical and conservative and secular and religious. In this outstanding introduction, German Philosophy in the Twentieth Century: Dilthey to Honneth--the third and final volume in his trilogy, Julian Young examines the work of eight German philosophers and theologians of the period. He shows how they engaged with profound existential questions about individual (...) and collective lives, criticised the increasing rationalisation and mechanisation characteristic of modernity, and committed themselves to varying forms of liberalism, socialism and democracy. Young introduces and assesses the thought of the following figures: Wilhelm Dilthey, the encroachment of the natural sciences upon the study of humanity and his distinction between 'explanation' and 'understanding'; Karl Jaspers, existentialism, the challenge of nihilism and the turn to theology; Edith Stein, our understanding of other people and the philosophy of empathy from a phenomenological standpoint; Paul Tillich, philosophical theology and the 'theonomous' life; Martin Buber, Recovering the 'I-Thou' relationship in the face of modernity and religious socialism; Hans Jonas, responsibility, selfhood and threats to humanity in the twentieth century; Erich Fromm, the 'art of loving' as a bulwark against totalitarianism and the replacement of capitalism by communitarian socialism; Axel Honneth, contemporary Hegelianism and the ethics and politics of recognition. Lucidly and engagingly written, German Philosophy in the Twentieth Century: Dilthey to Honneth is essential reading for students of German philosophy, phenomenology and theology and will also be of interest to students in related fields such as literature, political theory and sociology. (shrink)

This book, first published in 2002, is a systematic critical overview of German aesthetics from 1750 to the present. It begins with the work of Baumgarten and covers all the major writers on German aesthetics that follow, including Kant, Schiller, Schelling, Hegel, Nietzsche, Heidegger, Gadamer and Adorno. The book offers a clear and non-technical exposition of ideas, placing these in a wider philosophical context where necessary. Such is the importance of German aesthetics that the market for this (...) book will extend far beyond the domain of philosophy to such fields as literary studies, fine art and music. (shrink)

Frederick Beiser, German Idealism: The Struggle Against Subjectivism, 1781–1801 Robert Richards, The Romantic Conception of Life: Science and Philosophy in the Age of Goethe All art should become science and all science art; poetry and philosophy should be made one. Friedrich Schlegel, Kritische Fragmente When two major studies on the same thematic appear roughly simultaneously, integrating not only their authors' respective careers but the revisions of a whole generation of scholarship, the moment cries out for stock-taking, both substantively and (...) methodologically. At a minimum, we need to recognize the key theses of our two protagonists and the frameworks they erect to uphold them. But we need even more to step back from that endeavor to wider considerations. I advance two claims in that light. First, something has been unearthed in these studies which speaks to urgent philosophical concerns of our day, namely the rise of naturalized epistemology and the need for a more encompassing naturalism. Indeed, I suspect this current interest may have incited discernment of just those aspects of the earlier age. That signals something essential about the point and practice of intellectual history, namely the mutuality, not opposition, of historicism and presentism. (shrink)