Transformation of the Constitutional System of the Slovak Republic Purpose of the article is to analyze the Constitutional Act No. 356/2011 Z. Coll. amending the Constitution of the Slovak Republic in terms of its compatibility of the constitutional system of the Slovak Republic. The article analyzes the potential impact of amendment to the Constitution of the Slovak Republic on the Parliamentary form of the government of the Slovak Republic and examine the consistency of Art. 115 (...) Para 3 of the Constitution of the Slovak Republic with another provisions that relate to it. The purpose of the article is to identify some problems that brought amendment to the Constitution of the Slovak Republic by the Constitutional Act No. 356/2011 Coll. of Art. 115 Para 3 and points out its incompatibility with the constitutional text. This article also discusses a possible shift in the parliamentary constitutional system of the Slovak Republic which the Constitutional Act brought.Methodology/methods used in the article is the analysis of the Constitutional Act No. 356/2011coll. by induction from the concrete wording of Art. 115 Para 3 of the Constitution of the Slovak Republic to the conclusions in relation to the entire text of the Constitution of the Slovak Republic and to the whole constitutional system of the Slovak Republic Scientific aim is to point to the shortcomings of the Constitutional Act No. 356/2011 Z. Coll., not only from the perspective of constitutional interpretation, but potentially also in terms of practice and also show the wrong trend of breaking the internal unity and coherence of the constitutional system of the Slovak Republic by half-baked changes to the text of the Constitution of the Slovak Republic Findings are specific and severe systemic disorders that brought the amendment to the Constitution of the Slovak Republic by the Constitutional Act No. 356/2011 Coll. of Art. 115 Para 3. The Article identifies three concrete problems and the subsequent practice may bring some other issues that were not known at the time of processing of this Article Conclusions are directed to the fact, that the Constitutional Act No. 356/2011 Coll. means internal disturbance of the constitutional system of the Slovak Republic, brings more problems than constructive solutions and potentially deflects the parliamentary constitutional system of the Slovak Republic to the semi-presidential. (shrink)

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative (...) change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre (...) direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative (...) change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks. (shrink)

Introduction for Reframing Beauty: Body, Environment, Art, the thematic issue of ESPES. The Slovak Journal of Aesthetics.

In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reflections around three main themes, which intersect the theme of several of the essays of the volume: I will first of all consider the concept of transfiguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man in (...) Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and art (...) history. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and art (...) history. (shrink)

This article is motivated by a reading of J.J. Abrams’ proceedings Shusterman’s Somaesthetics: From Hip Hop Philosophy to Politics and Performance Art. Of the diverse range of essays in the proceedings, I concentrate my attention primarily on those aspects of the texts that highlight Richard Shusterman’s practical somaesthetics, and in which their authors focus on the more personal aspects of Shusterman’s philosophical-artistic experimentation, as captured in The Adventures of the Man in Gold: Paths Between Art and Life, A Philosophical Tale. (...) Through references to Foucault’s notion of care of the self and the aesthetics of existence, the article demonstrates that the individual level of Shusterman’s practical somaesthetics is not separable from the social-ethical level. This is matched by the conclusion of the text, which points out that Shusterman’s practical somaesthetics overcomes the dichotomy of private and public in Richard Rorty’s pragmatism. (shrink)

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. (...) The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavored to form, yet did not bring about”. For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature”, but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. This paper seeks a possible answer to the question of how art ties us to reality. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...) the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...) the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

In this paper, I examine some of the various ways, spaces, and situations in which one can currently encounter aesthetic content and have an aesthetic experience. By focusing on examples coming from the world of fine arts, my survey will tackle a double question: I will try to investigate where to search for aesthetics and where aesthetics may have something to search. Considering the novel forms of art presentation that are related to the spread of alternative exhibition spaces, I will (...) examine the emergence of new audiences, the rising power of the art market and art commerce, and their dubious influence on the creation of new standards and canons of art. (shrink)

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as evolved Naturalism with new media (...) and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

MAKKY, Lukáš : Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates]. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, Opera Philosophica. 256 pp.

MAKKY, Lukáš : Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates]. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, Opera Philosophica. 256 pp.

MAKKY, Lukáš : Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates]. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, Opera Philosophica. 256 pp.

MAKKY, Lukáš : Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates]. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, Opera Philosophica. 256 pp.

Korean Naturalism focuses on inner discipline by taking nature as a criterion. In this context, at the core of Korean aesthetic consciousness are inner virtues beyond superficial beauty. It may be too radical to apply Korean Naturalism to the current practice of new-media art. Nevertheless, some contemporary artists who attempt to bring back Korean tradition from a new perspective experiment with Korean Naturalism. In this study, I consider the method and concept those artists pursue as evolved Naturalism with new media (...) and a new zeitgeist. When a classic Korean painting transforms into a moving image, it is possible to experience an inward immersion and contemplation through the calm instilled in dynamism. In addition, through the installation art that intentionally composes a blank space, visitors can viscerally experience the space and unconsciously fill it with their narratives. The present-day artist's task is to correctly interpret the message contained in the tradition, rather than imitate the appearance of traditional art without the spirit. The artist should inculcate this attitude to accomplish historical continuity, which is an essential element for experimenting with conventional Korean artworks and aesthetic consciousness. (shrink)

Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both (...) as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne. (shrink)

Danto, Arthur Coleman, 2021. Po konci umění: Současné umění a oblast mimo dějiny. Prel. Šárka Lojdová. Praha: Academia.

The article is a cultural-philosophical response to Ivan Gerát’s Legendary Scenes and his art history interpretation of the function of Slovak hagiographic pictorial art of the Late Middle Ages. The thrust is on paintings of Christian ethical extremism, reflected in the principle of imitatio Christi. It led to the deaths of martyrs and saints in the name of the Faith. The preponderance of brutal scenes involving the tortured human body in this period art is examined in detail and it (...) is suggested that these portrayals are disincentives that put off the mass culture beholder. The contextualist art history method employed in Gerát’s book is gradually explored, along with its potential to transform the uninterested postmodern beholder into an intelligent beholder and art tourist. Attention is paid to the educational and national branding aspects of Legendary Scenes. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre (...) direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

To support my Phd theses and results of my grant research in 1999, I asked 1) prominent chemist Antonín Holý, author of substances to treat hepatitis and HIV, about the indivisibility of the art and science (published in Slovak Narodna Obroda and Czech blisty,cz), 2) the distinguished economist William Baumol about the alternative activities (published in Slovak Nove Slovo, Czech Respekt and blisty.cz), 3) Nobel Laureate Clive Granger about the significance of the economics (published in 2004 in Czech (...) weekly Tyden). The interviews were exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013. (shrink)

This short essay by Karol Kuzmány (1806–1866), a founding father of Slovak aesthetic thinking, was written in Czech and published in 1836 in Hronka, a periodical edited by the author. In the essay, Kuzmány follows on from the thinking of his teacher at Jena, Jakob Friedrich Fries (1773–1843), particularly Fries’s theory of Ahn(d)ung (intuitive awareness). In the introduction, Kuzmány emphasizes that his concern is to bridge the gap between the theory of imitation and the theory of art based on (...) imagination. In the first part of the essay, concerning general aesthetics, Kuzmány presents his theory of beauty – the feeling of the essence of things through perception by the mind (Anschauung or intuitus mentis); the basic idea – truth, the moral good, and beauty – according to Kuzmány, comprises the idea of religion in the broader sense – Humanität, humanitas. Rather than the opposite of beauty, the sublime constitutes beauty’s being raised to a qualitatively higher level: it is based on a contemplated intuitive awareness, which is itself felt. The second part of the essay consists of Kuzmány’s attempt to define art and to categorize kinds of art and genres of poetry. He distinguishes between unmediated art, which represents beauty to the external senses, and mediated art, which is aimed at inner feeling. The latter category includes poetry, which is, according to him, the supreme art, for it can, with the help of language, represent all forms of unmediated art as well. Kuzmány also devotes himself to a speculative justification of its genres, poetic style, and verse. (shrink)

In 2004 in Prague, I met Slovak philosopher Miroslav Marcelli, who had attended Foucault's lectures in Paris in 80s. We talked about the legacy of Foucault and contemporary philosophy. Mr. Marcelli taught me philosophy at Comenius University in 1995.. I never visited his lectures, I only passed the exam.. The most interesting point was his answer to my 'provocations' replicating the common prejudice about impracticability of the philosophy. He answered "Do you think that e.g. Descartes didn't know about it?" (...) In fact, people tend to think that philosophers or mathematicians, are "asocial" without "social" intelligence, while their occasional isolation (e.g. Nietzsche) is a product of social exclusion, rather than their choice. In 2013 I applied Foucault's concept of Discontinuity to short 10 minutes movie: Discontinuity, projected in my exhibition "From Animation" in Holland Park, London. The film has 3 parts, ends as it starts to show the significant historical events in 4 windows, when the same idea appears to disappear to re-appear.. Foucault's philosophy doesn't seem to me so unique now, e.g. the idea that many historical changes or progress itself is often illusionary - masking the power structure, had already been explored 515 BC, in depth by Parmenides who concluded: the change is impossible. (shrink)

In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) (...) are banal things aesthetically appealing? Drawing on Wolfgang Welsch’s notion of anesthetization and Walter Benjamin’s account of aura, I argue that banality consists in the absence of both an ontological and an axiological character in objects, which makes them appear trivial or insignificant to us. I conclude by showing that although art, everydayness, and banality represent different aesthetic dimensions, objects constantly move from one of these dimensions to the other. (shrink)

In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo (...) - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today. (shrink)

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony _(chanoyu), _has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings might have (...) been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft. (shrink)

In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...) sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. Kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that. (shrink)

Collecting goes beyond art collecting and seems to meet a more general need. Although it originally aided survival and has predecessors in the animal world, the gesture of collecting has complex motivations. After exploring the collector’s psychology and the behavioural differences between collectors and spectators, this paper analyses the logic of collecting and its principles: order, variation, attractive and meaningful display, the control of contingency, processuality and growth, seriality, and limitation. Finally, the paradoxical attempt to collect non-collectibles, such as gods, (...) clouds or human relations will be shown to illustrate a para-aesthetics of collecting which ranges from the poetics of everyday life to aestheticism. (shrink)

Collecting goes beyond art collecting and seems to meet a more general need. Although it originally aided survival and has predecessors in the animal world, the gesture of collecting has complex motivations. After exploring the collector’s psychology and the behavioural differences between collectors and spectators, this paper analyses the logic of collecting and its principles: order, variation, attractive and meaningful display, the control of contingency, processuality and growth, seriality, and limitation. Finally, the paradoxical attempt to collect non-collectibles, such as gods, (...) clouds or human relations will be shown to illustrate a para-aesthetics of collecting which ranges from the poetics of everyday life to aestheticism. (shrink)

In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...) sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. Kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that. (shrink)

In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...) sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. Kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that. (shrink)

This short paper comments on Lukáš Makky’s article What Makes Things Banal. The argument is divided into two sections. The first section reconstructs Makky’s understanding of banality, which he develops based on aesthetic theories by Wolfgang Welsch and Walter Benjamin. The second and more critical section examines the validity of the arguments Makky uses for his definition of banality. Although this commentary attaches great value to Makky’s insightful analysis of the term banality and agrees with identifying it as a historical (...) and processual concept, drawing on writings by M. Heidegger and J. Derrida it eventually proposes a different understanding of the relationship between the arts and banal things and underlines the importance of banality for the creation and perception of the arts. (shrink)

This article discusses Everyday Aesthetics seen from philosophical hermeneutics where aesthetics is understood as a form of knowledge. Two approaches are made, one concerning content, i.e. the knowledge made apparent to us in the aesthetic situation which is usually, but not exclusively, an exception to the everyday; another concerning the appearance of knowledge in form which, likewise, is also in danger of becoming isolated from the everyday. Everyday Aesthetics is reviewed through the same two approaches to understand how it differs (...) from hermeneutics and where possible exchanges between them appear. (shrink)

This article discusses Everyday Aesthetics seen from philosophical hermeneutics where aesthetics is understood as a form of knowledge. Two approaches are made, one concerning content, i.e. the knowledge made apparent to us in the aesthetic situation which is usually, but not exclusively, an exception to the everyday; another concerning the appearance of knowledge in form which, likewise, is also in danger of becoming isolated from the everyday. Everyday Aesthetics is reviewed through the same two approaches to understand how it differs (...) from hermeneutics and where possible exchanges between them appear. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)