La trayectoria intelectual de Marcuse está acompañada de un compromiso constante con las formas de la crítica filosófica heredadas de la tradición occidental, desde la forma en la cual aparece la negación de lo dado a través del diálogo socrático hasta la manera en que se configura la crítica del sistema capitalista en el siglo XX. Esto no quiere decir que Marcuse haya sido un erudito que absorbió y comprendió a cabalidad todos los sistemas e ideas filosóficas y que las (...) utilizó al servicio de su propia consideración crítica del mundo; más bien resalta que entre sus elaboraciones han estado presentes algunos de los contextos e ideas más potentes del pensamiento que ha entendido de manera crítica la estructura de las sociedades humanas. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do (...) these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

This chapter explores the suggestion that early attachment underpins the human capacity for empathy, and that empathy, in turn, is a condition of moral competence. We are disposed by nature to seek intimacy with our human conspecifics: the securely attached child learns that, whatever perils the world may hold, his well-being is shielded within the private sphere of personal intimacy. But why should secure attachment also favour—as it does—recognition of moral obligations towards those with whom we have no special standing (...) and share no personal destiny—recognition that the claims of persons as such merit our attention and regard? One answer to this question looks beyond the fact of secure attachment to a further psychological capacity, our capacity for empathy: secure attachment promotes susceptibility to empathy, and an appropriate susceptibility to empathy is a condition of basic moral competence. The chapter proposes that the deeper and more persisting significance of empathy to morality can be understood from a developmental perspective. Looking to mentalization-based attachment theory allows us to understand how empathic mirroring enters into our earliest intimate, interactions with other persons, securing our default commitment to recognizing their reality as bound up with our own. In this way, empathy constitutes one of the natural foundations on which the more complex architecture of moral experience is constructed. Attachment theory helps us to understand the indispensable role empathy plays at the beginning of the circuitous road to virtue. (shrink)

The ‘humanisation’ of education is one of the three leitmotifs in a recent Soviet planning document A Conception of General Education. It is suggested that Western education systems also need to be humanised, although not so radically as the Soviet, by the removal of obstacles to educating pupils as members of a liberal democratic society. A future joint research agenda between East and West should concentrate on improving mutual understanding of this goal, clarifying conceptual obstacles, and reflecting on means of (...) realising it. Specific proposals are put forward under all three headings. (shrink)

Friedrich Schiller, German poet, dramatist, philosopher and publisher, was a prominent contributor to the educational neo‐humanistic concept of Bildung at the threshold to Romanticism. Schiller assigns a pivotal role to the aesthetic education arguing that aesthetic activity reconciles sensuousness and reason and thereby creates the precondition of knowledge and morality. The article examines elitist and sexist traits in Schiller's work and whether they are constitutive to his theory of aesthetics and education. By identifying problems in the philosophical foundations of the (...) concept of Bildung the authors wish to contribute to its ongoing reconstruction in the Nordic Countries. (shrink)

The value of the arts is often measured in terms of human creativity against instrumental rationality, while art for art's sake defends against a utility of art. Such critiques of the technical and formulaic are themselves formulaic, repeating the dualism of the head and the heart. How should we account for this formula? We should do so by investigating its determination within metaphysical and social relations, ancient and modern, and by comprehending the notion of freedom carried therein. This opens up (...) the value of the arts to a modern metaphysics and modern notion of freedom. This value, and this freedom, find currency in a notion of philosophical and political education, and especially in a modern conception of liberal arts education, where freedom is to learn. (shrink)

The last few years have seen increasing research interest in moods and atmospheres. While this trend has been accompanied by growing interest in the history of the wordStimmungin other disciplines, this has not yet been the case within philosophy. Against this background, this paper offers a conceptual history of the wordStimmung, focusing on the period from Kant to Heidegger, as this period is, presumably, less known to researchers working with notions like mood, attunement or atmosphere today. Thus, considering this period (...) might provide conceptual resources not yet considered in current debate.Stimmunghas the remarkable feature of encompassing the entire semantic field of mood and atmosphere, insofar as both subjects and objects can literally be inStimmung.Stimmungmight refer to the state or condition of being attuned, which is understood as a dispositional state, as well as the process or act of attuning, which includes self-activating and foreign-determined forms of attuning. The word was first used for the tuning of musical instruments, but was quickly transferred to the fields of aesthetics, psychology, and physiology. This paper will focus on the contrast between the psychological canonization ofStimmungas a type of mental state, and the use ofStimmungas an untranslatable, irreducible metaphor with unique semantic force allowing for original theorizing. (shrink)

This article examines the turn to the aesthetic dimension in early 20th century critical theory, particularly in the work of Lukács, Benjamin and Adorno. It focuses on the concept of play, which garnered particular attention as a possible form of aesthetic resistance to the reification of reason in modern society. The article traces the concept of play from the work of Lukács, who engaged with Schiller’s notion of the play-drive but ultimately viewed it to be an inadequate form of aesthetic (...) resistance, to the work of Benjamin, who optimistically embraced the revolutionary possibility of play. In contrast, the article argues that Adorno’s work tacitly advances a critical concept of dark play that offers a third perspective between Lukács’s pessimism and Benjamin’s optimism, thus avoiding both the retreat into an apolitical aesthetic dimension and the uncritical embrace of play’s revolutionary potential. (shrink)

This paper provides an analysis of the key term aidagara ('betweenness') in the philosophical ethics of Watsuji Tetsurō (1889-1960), in response to and in light of the recent movement in Japanese Buddhist studies known as 'Critical Buddhism'. The Critical Buddhist call for a turn away from 'topical' or intuitionist thinking and towards (properly Buddhist) 'critical' thinking, while problematic in its bipolarity, raises the important issue of the place of 'reason' vs 'intuition' in Japanese Buddhist ethics. In this paper, a comparison (...) of Watsuji's 'ontological quest' with that of Martin Heidegger (1889-1976), Watsuji's primary Western source and foil, is followed by an evaluation of a corresponding search for an 'ontology of social existence' undertaken by Tanabe Hajime (1885-1962). Ultimately, the philosophico-religious writings of Watsuji Tetsurō allow for the 'return' of aesthesis as a modality of social being that is truly dimensionalized, and thus falls prey neither to the verticality of topicalism nor the limiting objectivity of criticalism. (shrink)

This article considers the notion of ‘play’ in the plastic arts as described by Johan Huizinga, its definitional relation to the materiality of the art object, and the way in which such a conception rests on a notion of aesthetic order that, after the work of Marcel Duchamp, could not be sustained. I argue that Duchamp’s readymadesforce a re-evaluation of plasticity (and thus of Huizinga’s definition of play), and introduce a permanent revolution of plasticity, which in social and intellectual terms (...) must be considered as the expression of an essential disorder underlying all appearances. It is further argued that Duchamp achieved this by employing strategies of disguise in order to lay bare the epistemic play of surfaces, and thus the contingency of knowledge and identity. Duchamp’s wager was that changing fashions in art revealed that it was neither formal presentation nor skill that defined art, but rather some connection to a hidden realm of disorder, and that this connection could be found, and repeatedly renewed, by ensuring that the art ‘object’ was received as an uncertain bequest. (shrink)

Environmental protection isn't what it used to be. During the 1960s and 1970s, environmentalists enacted a legislative agenda that seems like a dream today: statutes like the Clean Air and Clean Wa...

Current changes in the intimate sphere are denoted by an expansion of emotional vocabularies, of freedom in sex and sexual preference, and the extension of sexual life with neither inhibition, nor obligation, nor marriage for both women and men. This reading of the works of Jean-Claude Kaufmann and Niklas Luhmann suggests that the result of this current revolution of the intimate sphere is mixed. A new differentiated form of the intimate sphere has developed with an internal distinction between sex qua (...) leisure and committed love-relationality. Although sex qua leisure is mediated by the new communications technology, this technological mediation is not what is important here. Rather, the actions are configured and mediated by the neo-liberal paradigm by all participants. Leisure-sex is simply a game that combines autonomy, leisure, power and rational choice – a combination that is open to men and women alike. But there is still love, and in ways that enable it to be expressed beyond traditional forms. From the position of committed love-relationality, rather than marriage, love is between people – but it is a different between to the one of leisure sex. Love is double-sided: whilst heightening a sense of self-orientation, one is also focused on an other. Love involves all kinds of complexity in the everyday because it involves the well-being of an other or others – with joys and heartaches, responsibilities and conflicts. (shrink)

In many of his writings, Castoriadis argues that ‘the discovery of the imagination’ occurs in the works of Aristotle, Kant, Fichte, Freud, Heidegger and Merleau-Ponty. Although he has systematically encountered and interrogated the works of Aristotle, Kant, Freud, and Merleau-Ponty, the work of Fichte remains an enigmatic absence within the orbit of Castoriadis' work. This study is an attempt to address this enigma through a close reading of Fichte’s The Science of Knowledge.

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the image signals its power (...) and turns it into a strong magnet in political aesthetics, may it be affirmative or negative. (shrink)

This paper argues that children as members of a perennial psychoclass represent one potential vanguard of an emergent shift in Western subjectivity, and that adult–child dialogue, especially in the context of schooling, is a key locus for the epistemological change that implies. I argue from Herbert Marcuse’s prophetic invocation of a “new sensibility,” which is characterized by an increase in instinctual revulsion towards violence, domination and exploitation and, correspondingly, a greater sensitivity to all forms of life. As the embodiment of (...) a form of philosophical “post-animism” or hylozoism, it represents the evolutionary shift that, it could be argued, our species requires for survival at this historical moment. I suggest that the evolutionary phenomenon of neoteny—the long formative period of human childhood and the pedomorphic character of humans across the life cycle—makes of the adult-collective of school a primary site for the reconstruction of belief. After exploring child–adult dialogue more broadly as a form of dialectical interaction between what John Dewey called “impulse” and “habit,” I argue for a form, or archetype of schooling first articulated in ancient Greece called skholé, a space that functions, according to Jan Masschelein and Maarten Simons, as a “meeting place,” a “form of gathering and action” dedicated to inquiry, and not to the production of calculated, preordained outcomes—a space removed from the world of production, and characterized by a form of temporality associated with childhood: aion, or “timeless time,” as opposed to kronos, or linear time. Skholé is dedicated to emergence and cultural reconstruction, which follows from an educative relationship between adults and children based on understanding the latter as bearers of the “novel,” and on a faith in the “reorganizing potentialities” of childhood impulse, or interest—that is, on natality as a fundamental principle of cultural evolution. (shrink)

The philosophy of Immanuel Kant has been important in education theory, especially in the historical context of the Enlightenment and its legacies on contemporary understandings of global education. Particular reference is given to Kant’s writing on Enlightenment thinking and especially to his 1803 Über Pädagogik/Lectures on pedagogy whose groundwork tends to be thought from an empirical anthropology. This paper aims to question education, though from the perspective of a Kantian understanding of aesthetic experience, a perspective developed initially from my reading (...) of Denis J. Schmidt’s Lyrical and Ethical Subjects. In the Critique of Judgement, Kant develops an ‘Analytic of the Beautiful’ that offers transcendental grounds for the possibility of aesthetic experience. In doing so, he discusses, somewhat briefly, training in the fine arts and even more briefly offers, somewhat indirectly, a far-reaching transcendental ground for pedagogy. It is these two brief accounts that form the substance of this paper, requiring a somewhat extended introduction to Kant’s Critique of Aesthetic Judgement in order to develop its analysis. From this analysis, two key questions arise: if fine art cannot be learned, and if imitation would ultimately aim at producing an objectively determinable rule—via a determinable concept—for the production of art works, how does one proceed with education in the fine arts? And, secondly, as a corollary, if genius is reserved for precisely what cannot be learned but yet can be conceived and communicated, what possible purpose is served by aesthetic ideas with respect to cognition itself? (shrink)

ABSTRACTIn this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the...

The concept of experience by John Dewey revisited: conceiving, feeling and “enliving”. Dewey takes a few steps towards a differentiation of the concept of experience, such as the distinction between primary and secondary experience, or between ordinary (partial, raw, primitive) experience and complete, aesthetic experience. However, he does not provide a systematic elaboration of these distinctions. In the present text, a differentiation of Dewey’s concept of experience is proposed in terms of feeling, “enliving” (a neologism proposed in this paper) and (...) conceiving. Feeling refers to the basic mode of experience where action, emotion, cognition and communication constitute an original unity. Enliving, aesthetic experience, constitutes the lifeworld, as a person-in-world experience. Even though enliving is holistic and relational, a certain distance emerges between action, emotion and cognition which allows contemplation and choice. Conceiving, on the other hand, refers to the isolating and abstracting understanding of the world with even greater distance between action, emotion and cognition. Such a differentiation provides a clearer understanding of the scope of education. It avoids the risks of regressive tendencies in the concept of experience, and it helps to include conceiving within the realm of experience. (shrink)

This article reads Carlyle as a reader of Goethe to recover why he proclaimed Goethe as the `benignant spiritual revolutionist' of modernity and `first of the moderns'. As Goethe's first major English translator, Thomas Carlyle was also arguably the first to grasp the nature and purpose of Goethe's project to interpret modernity as a revolutionary epoch involving changes in consciousness, culture and material development. For Carlyle, Goethe's Faust presents modern consciousness and culture from the side of elegy - as the (...) search by an old man for eternal youth and an infinite world without constraints involving tragic loss. Wilhelm Meisters Lehrjahre, by contrast, presents the same processes from the side of romantic quest, that is, from the perspective of a youth growing into adulthood, as looking into the future with infinite hope. Finally in Wilhelm Meisters Wanderjahre, Carlyle discerns that the radical form of this novel as a discontinuous narrative that embodies movement, change and incompletion enables Goethe to represent the social conditions of moderns as a spiritual challenge and historic achievement. Carlyle's critical perspicacity is evident not least in his choice of Goethe's works to translate as much as his own essays on Goethe's place in modern European letters. In his close reading of Goethe, Carlyle captures the symbolic form of modernity as incorporating three levels of revolutionary transformation of individual consciousness, of culture and of modernity as mythic condition consisting of tragic development, creative destruction and perpetual movement and change. Moderns then are challenged to become authors of their own texts and lives. Carlyle contrasts Goethe's achievement against other primary candidates for the title of modern spiritual revolutionist in ironically Goethean terms: Napoleon (Prometheus), Byron (Faust and Young Werther) and Voltaire (Mephistopheles). Thereafter, the older Carlyle puts aside his critical readings of Goethe to become his own Goethean authority on the modern condition, most notably in his most famous books, Sartor Resartus, The French Revolution, Chartism, On Heroes, and Past and Present. By reading Carlyle as a reader of Goethe we can begin to discern that Carlyle was not only an historian, biographer and political commentator of his own place and times but a critical theorist seeking to interpret the modern epoch, with and beyond Goethe. (shrink)

Information communication technology is spreading fast and wide. Driven by convenience, it enables people to undertake personal tasks and make decisions more easily and efficiently. Convenience enjoys an air of liberation as well as self-expression affecting all areas of life. The industry for children's toys is a major economic market becoming ever more tech-related and drawn into the battle for convenience. Like any other tech-related industry, this battle is about industry dominance and, currently, that involves networked toys. Networked toys aim (...) to enhance convenience for children and parents alike. Increasingly difficult to resist, these convenient networked devices are also a societal game changer. Neatly nestled in a lacuna juris and surrounded by a lack of clinical evidence, networked toys raise complex ethical issues concerning human development. This article lays bare the regulatory nexus for networked toys and invites ethical thinking to fill the gap to ensure sufficient protection for all human developmental stages. Networked toys not only affect but also might interfere with child development. Therefore, the article initially summarises the four key psychological stages through which the neurological development of the human brain processes. Each of these stages involves vital windows for human development in cognitive, emotional and social dimensions. Missing any of these developmental windows changes an individual human for life. The article then takes a look at the two main legal frameworks protecting the stages of human development which are applicable to networked toys: First, the examination of the human rights framework with its major segments emanating from the fundamental rights to privacy for family and home, to a child's education as well as to personal data reveals the use of current networked toys as a shielded part of parenting which tends to be at odds with privacy and data protection requirements. Second, the product liability framework for toy manufacturers requires evidence-based causality for putting a child's safety at risk. Unfortunately, these legal frameworks fail to offer sufficient protection of the human developmental stages. There is a lacuna juris. Although networked toys involve the risk of negatively impacting human development in every dimension, clinical psychological studies are impossible to acquire as court evidence for product liability because they take too long to provide reliable data while exposing several generations of children to the examined risk in the process. Meanwhile the temptation of convenience continues to drive the industry and consumers of networked toys and devices, which are already impacting children of all age groups. Accepting this phenomenon as an element of cognitive dissonance in society and in science falls far short of an appropriate ethical balance. The need for creating such an ethical balance concerning networked toys is all the more imperative because even if the networked toy industry managed to eliminate all psychological risks for human development and every legal conflict with privacy and security, significant ethical and societal risks of networked toys remain due to inevitable technological bias. Against these mounting changes, it is suggested that only an ethical approach of interdisciplinary research and learning seems most promising to develop an appropriate equilibrium between the complex challenges posed by networked toys and the societal values at stake. (shrink)

In his early text, The Limits of State Action, Wilhelm von Humboldt raises the Kantian question of the permissibility and legitimate extent of political and juridical coercion, as his contribution to a debate amongst Kantians launched by the publication in 1785 of Kant’s Groundwork of the Metaphysics of Morals. In arguing for a minimal state, concerned exclusively with internal and external security of its members but not at all with their felicity, Humboldt inflects Kantian political thought in the direction of (...) a liberal laissez-faire state, in marked contrast to the strong interventionism that his fellow-Kantian Fichte derived from similar Kantian grounds. The article argues that the underlying conception of the individual retained by Humboldt has markedly Leibnizian traits, namely the notion of freedom as the spontaneous unfolding of a highly personal, monadic developmental trajectory toward perfection, which ought not to be impeded or homogenized by unnecessary state intervention. Humboldt thus represents not only a ‘rightist’ libertarian reading of Kant, but a particular appropriation of significant Leibnizian themes. His combination of these sources is compared with that of other contemporary theorists like Hufeland and Fichte. (shrink)

(2013). The Beauty of Sport. Sport, Ethics and Philosophy: Vol. 7, Sport and Art: An Essay in the Hermeneutics of Sport, pp. 100-120. doi: 10.1080/17511321.2013.761886.

Abstract In this paper I set the debate between Kant and Schiller in terms of the role that an ideal of life can play within an autonomist ethic. I begin by examining the critical role Schiller gives to emotions in tackling specific motivational concerns in Kant's ethics. In the Kantian response I offer to these criticisms, I emphasise the role of metaphysics for a proper understanding of Kant's position whilst allowing that with respect to moral psychology, Kant and Schiller are (...) in agreement about the importance of emotions in our moral lives. I conclude by returning to the themes broached in the introduction to consider the extent to which the teleological concerns that motivate Schiller can be addressed within Kant's autonomist ethics. (shrink)

PAUL DE MAN: DECONSTRUCTION AND THE CRITIQUE OF AESTHETIC IDEOLOGY by Christopher Norris New York: Routledge, 1988. 218pp. $12.95 (paper).

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

This paper describes an experimental course in the preparation of art teachers. The goal of the course was to engage final-year art students in thinking about the fundamental questions in aesthetic education and in considering various views of their roles as teachers of art. The classes presented a dialogue between two teachers: a philosopher of art and an artist. We discussed the social justification of art, the place of art in education and more generally the portrayal of visual culture in (...) philosophical thought. The bibliography for the course comprised a list of basic texts in aesthetic education, from Friedrich Schiller to Nelson Goodman. In class we linked the range of philosophical views examined to the artistic exploration of themes (mainly in contemporary and local art). The course also incorporated guest speakers who presented their own projects relating to different meeting points of art and education, including social-activist artists, curators, philosophers of education and school architects. The article presents the rationale for the course, its method and a sample of its content. (shrink)

La base conceptual de lo que sería más tarde desarrollado por las vanguardias artísticas fue colonizada por alemanes de pensamiento romántico e idealista, cuya dimensión utópica puede ser fácilmente reconocida en el «antiguo programa del idealismo alemán» (1796), un texto que consagró un pensamiento idealista, que clamó por una nueva racionalidad o una mitología de la razón de Hegel, la intuición intelectual de Schelling y la Humanidad de Schiller. Aunque este proyecto de emancipación desarrollado más tarde por la vanguardia ha (...) perdido su credibilidad para nosotros, todavía tenemos que investigar en qué medida el arte de hoy puede mantener una función social. Este artículo señala algunos conceptos idealistas a la luz de una filosofía del arte, y fue creado siguiendo las líneas esbozadas en la Crítica del juicio de Kant, que han contribuido a la historia de la «avanzada» del arte. (shrink)

Historizing Subjectivity in Childhood Studies.

The purpose of this thesis is to demonstrate the aesthetic strategy of the political philosophy of Edmund Burke, by considering the relation between the "artificial infinite" of the Enquiry Into our Ideas of the Sublime and Beautiful, and the "immemorial custom" of the Reflections on the Revolution in France. The argument addresses misreadings of Burke found in recent critical theories on the "aestheticism" of "bourgeois ideology.".