In this paper I contribute to the recovery of women in the history of philosophy by giving the first modern-day philosophical account of the ideas on aesthetics and ethics of Anna Jameson (1794–1860). Although Jameson was massive in her time, she wrote in a place and period, nineteenth-century Britain, and on an area, aesthetics, that the recovery effort has hardly reached yet. Throughout her work Jameson argued that aesthetics and ethics were very closely connected. Here I focus on how she (...) made that connection in her 1832 work _Characteristics of Women: Moral, Poetical, and Historical_. Looking at Shakespeare’s female characters, Jameson argued that they provide moral examples of various sorts: role models, warnings, or a mixture of the two. The characters only provide these examples because they are rounded, psychologically complete individuals who are therefore in a certain sense real. In addition, because they are complete, the characters are aesthetic wholes, and art-works in turn are aesthetic wholes just when they depict characters as aesthetic wholes. The consequence for Jameson is that art-works can only be aesthetically good – in virtue of being wholes – if they are also morally good – in presenting characters that serve as moral examples. Published on 2023-03-21 09:06:33. (shrink)

Choreography and Ceremony: The Artful Side of Action "Actions" are normally thought of as taken by individuals. But to understand their quality, it is not enough to classify them from the perspective of individual psychology (rational vs. emotional, technical vs. artistic, etc.). We need to grasp their relation to those forms of collective life which have a historical existence independent of specific individual action (institutions, the conventions of social gathering, the organizing principles of games, architecture, music, ritual, etc.). This paper (...) focuses on what characteristics such forms of collective life share, not what seems to separate them (eg. into sacred vs secular, technology vs creative art). The main features emphasized are their choreography, that is their enactment within commonly understood patterns of a spatial and temporal kind, as well as rules of interactive movement; and their ceremonial character, something which can be found in simple situations such as a conversation or a meal, though much more intensely in major religious ritual. A particularly resonant image for these enactments of social life is the dance. Because there is a ceremonial aspect to all social interaction, the paper argues that individual action, necessarily oriented to the social context, always has an "artful" side (however habitual or technical). The paper draws on the writings of Wittgenstein on action, and those of Collingwood on language and art, to shape the argument. Illustrations are provided of the "artful" employment of language (especially by actors on the stage), the "artful" side of material culture, and from the author's own ethnographic studies, the significance of dance among Sudanese refugees in Ethiopia. (shrink)

In this article I argue that a high capacity for courage, in the sense of the strength of character that enables one to face distress, angst or psychological pain, is required of Hume’s ideal critics just as the other well-known five characteristics are. I also explore the implications of my proposal for several aspects of Hume’s aesthetics, including the one brought into relief by Shelley’s interpretation of Hume along the lines of distinguishing between the perceptual and affective stages in (...) aesthetic appreciation. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter (...) or write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing so? (...) Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? -/- Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Deeper Than Reason: Emotion and Its Role in Literature, Music, and ArtSusan FeaginDeeper Than Reason: Emotion and Its Role in Literature, Music, and Art, by Jenefer Robinson; 516 pp. Oxford: Clarendon Press, 2005, $35.00.Jenefer Robinson's lucid yet closely-argued book has four parts. The first part presents a theory of the emotions in general. The second part develops and defends the view that "some works of literature... need to (...) be experienced emotionally if they are to be properly understood" (p. 3) and draws some implications for other arts. Part Three develops a new theory of expression, and Part Four examines the expression of emotion in and listeners' emotional responses to music. Robinson applies her theory of emotions and how they arise and are expressed in response to individual works of art throughout, and the extended discussions of Edith Wharton's The Reef and one of the intermezzi from Brahms's Opus 117 set are not to be missed.Robinson's use of psychological research to develop a philosophical theory of emotion is characteristic of an increasingly popular practice in the philosophy of mind. Her descriptions of this often highly technical literature are among the best with respect to accuracy and clarity. On most accounts, emotions are mental states; on Robinson's, they are mental processes. These processes are always initiated by "an automatic 'affective appraisal' [that] induces characteristic physiological and behavioral changes and is succeeded by... 'cognitive monitoring' of the situation" (p. 3). The appraisal is also referred to as a 'non-cognitive' appraisal, which may sound like an oxymoron. Robinson explains: these appraisals are non-cognitive "in the sense that they occur without any conscious deliberation or awareness, and that they do not involve any complex information processing" (p. 45; see also p. 59). Appraisals have a valence, positive or negative, sufficient to induce a characteristic pattern of physiological and (roughly, involuntary) behavioral responses, such as alterations in galvanic skin response and movements of facial muscles. These changes are succeeded by cognitive monitoring of the situation, resulting in conceptually more sophisticated assessments of one's initial response with respect to its suitability to the circumstances and in relation to one's beliefs. Thus, cognitive monitoring generates the more cognitively complex emotions, and here she is in agreement [End Page 420] with the "judgment theorists" (p. 90) that these emotions are individuated by cognitions. Robinson seeks a univocal account of emotions for humans and other sentient creatures, though with humans it is possible for a "complex cognition" to trigger the process that constitutes having an emotion and cognitive feedback may occur in general throughout the process in ways that are not possible for creatures lacking the relevant complex mental capacities (p. 93).The fact that complex cognitions can constitute the initial stage of an emotion makes it possible to respond emotionally to literature. As in emotional situations in real life, emotions are initiated by automatic affective appraisals that have to do with one's own wants and interests, calling our attention to something important in the novel, which may lay down its own memory system, linked with bodily feelings, which is then subject to cognitive appraisal and reappraisal. Cognitive reflection facilitates the understanding of narratives as well as characters, and with respect to the latter, she argues, deploys the same mental systems that are engaged in understanding people. Further, it is not merely the beliefs that one may acquire as a result of the process that is educational, but the process of emotional understanding itself (p. 155). Indeed, Robinson endorses the strong claim that for at least some novels, those that are part of the "Great Tradition" of nineteenth-century realistic British and American literature, it is necessary to experience them emotionally to understand them.Part Three exposits a theory of the expression of emotion simpliciter and then makes adjustments to it to build a theory of expression in art, taking advantage of Romantic theories of expression developed in the works of, for example, Collingwood. Reflection on ordinary expression allows an artist to clarify and articulate "what it is like to go through the emotion process," which may be revealed both in the... (shrink)

The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is (...) established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process. (shrink)

, George Dickie offers an account of artistic principles comprising both a description of their character and a description of the role they play in the evaluation of artworks. According to the former, artistic principles state that certain individual properties of artworks, in isolation from other properties, are always artistic merits; according to the latter, artistic principles serve as premises from which we infer that artworks have artistic merit. I argue not merely that Dickie 's account fails, but that any (...) account comprising either component of Dickie's account fails. Because not every account of artistic principles need comprise either of Dickie's components, the success of my argument will not rule out every possible account. But it will rule out many, and it will place tight constraints on the rest—tight enough, I believe, to raise worries about whether principles play any role in the evaluation of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Aesthetics and social cognition are two disciplines rarely merged, despite the penetration of artworks into social, moral, and political concerns. In particular, participatory artworks involve direct social interaction and perception, and are more often than not motivated by, and aim towards, ethico-political ends. In the following, I fuse considerations aesthetic with considerations intersubjective, arguing that participatory artworks engage and exploit empathy’s biased character towards a recalibration of our social relationships, namely inclusion and exclusion. Although critics of empathy suggest that its (...) biased, manipulable, and narrow characteristics are detrimental to its moral promise, I argue that participatory artworks are successful intervention methods just insofar as they use these characteristics for their ethico-political gain. This is stimulated by their facilitation of affective, primary intersubjectivity, something I argue is unique to participatory art. After detailing these operations, I suggest that works that seek to address exclusion, rather than those that facilitate inclusion, have a greater potency in addressing and recalibrating empathy, in part owing to their provocation of empathy-related emotions and forms of fellow-feeling such as shame and compassion. (shrink)

Although it has become commonplace to regard Marsiglio of Padua's Defensor Pacis (completed in 1324) as a quintessential work of medieval Aristotelian political theory, this view has been challenged for various reasons in recent years. Some scholarship has pointed to the superficial quality of Marsiglio's appeal to Aristotle's �authority�. Others have emphasized Marsiglio's decisive reliance on sources and doctrines which were quite at odds with his overtly Aristotelian commitments. A revealing measure of the depth of his Aristotelianism is perhaps his (...) failure to cite Aristotle's authority at all in the Defensor Minor, an abbreviated version of the Defensor Pacis composed about 1340.4 At minimum, it seems necessary to reconsider the claim (pioneered already by Albertus Pighius in the sixteenth century) that Marsiglio was �homo magis aristotelicus quam christianus�.5 Indeed, it may be true to say that the assumption of Marsiglio's fidelity to Aristotle has acted as a filter, screening out interesting or original features of his thought because they are cloaked in outwardly Aristotelian language. In this paper, I would like to test this hypothesis with reference to Marsiglio's alleged application of the basic principles of Aristotelian moral psychology (in particular, Aristotle's doctrine of hexis) within the Defensor's account of the constituent parts of the political community. In both his Ethics and his Politics, Aristotle had employed the idea of hexis (often translated as �habit�, but more properly denoting �state� or �firm disposition�) to explain the way in which moral and civil virtues come to be instilled in persons. Thus, hexis served as the foundation for his conception of ethical and political education. Marsiglio seems to use the Latin rendering of hexis, habitus, in a very similar manner. He argues that the different parts of the community, ranging from the rulers and priests to the warriors and farmers, each have a set of characteristics unique to their function. These functional properties are, he says, a result of the differing kinds of habitus which typify each part of the community. (shrink)

Religious faith may manifest itself, among other things, as a mode of seeing the ordinary world, which invests that world imaginatively (or inspiredly) with an unseen depth of divine intention and spiritual significance. While such seeing may well be truthful, it is also unavoidably constructive, involving the imagination in its philosophical sense of the capacity to organize underdetermined or ambiguous sense date into a whole or gestalt. One of the characteristic ways in which biblical narratives inspire and teach is by (...) renewing their characters’ and readers’ imagination. The texts do so not inexorably but in a similar way as (other) works of art. This paper therefore investigates the ways in which works of art engage and develop the imagination, and thereby enable renewed perceptual and cognitive engagement with the world. The paper introduces predictive processing as a helpful psychological theory for analyzing this dynamic, and outlines questions for further research. (shrink)

Three approaches to scholarship are “scholarship as a way,” which aims at perfection of character; “scholarship as a method,” which clearly limits objects and methods in order to achieve precise perception and new knowledge; and “scholarship as an expression,” which takes various approaches to questions and inquiry. The “humanities” participate deeply and broadly in all three of these approaches. In relation to this view of the humanities, Japanese Shinto is a field of study that yields rich results. As a religion (...) of awe, shrine groves, community, arts, and entertainment, it offers a research field that joins together the study of human beings, nature, society, and expression. Though we elucidate the characteristics of Shinto and its differences with Buddhism, we also draw attention to the seven dimensions of “place, way, beauty, festival, technique, poetry, and ecological wisdom,” and then finally take up “research on techniques of body and mind transformation” as a comprehensive and creative development in the “humanities.”. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

This text is an attempt to describe a growing interest in transferring street art into digital art in the form of NFTs. By examining several urban values associated with graffiti and street art, it is possible to see how these phenomena affect new technologies. First, however, it is important to consider some street art NFTs and distinguish between their different types. We may identify three ways of presenting street art as NFTs: transferring the character to a different medium; assembling a (...) collection of street art NFTs in a museum-like environment with each piece having its own characteristics; writing street artistry into the wider metaverse. I describe five urban values of NFTs: preservation, accessibility, illegality, money, and uniqueness. In conclusion, it is clear that NFTs change how viewers may perceive street art. NFTs are supposed to be eternal rather than ephemeral, and they lose street art’s association with spontaneity and illegality as well as its critique of commercialism. Street art as NFT is just another form of profit-making and one of its new values is money. It is possible to notice artistic values as well. NFTs are marked by diversity, and have their own rules (such as the importance of movement or looping), which are impossible to implement in traditional street art. (shrink)

In the field of modern photography, aesthetic recreations to varying degrees through the content of the images presented by photography, while forming a certain degree of philosophical aesthetic awareness, can awaken people's emotions and philosophical cognition. As a modeling language, the tone in photography is crucial in embodying the contrasting relationship between light and shade, virtual reality, and the different levels of black and white in black and white portrait photography. It is the most basic factor that constitutes a character's (...) image. Based on the unique performance characteristics of the art of black and white portrait photography, and based on the art of tone in photography and cognitive and aesthetic perspectives in philosophy, this article discusses the role, classification, and influencing factors of tone in black and white portrait photography, and expounds the different philosophical concepts of the East and the West represented by the differences in tone in black and white portrait photography. By analyzing the philosophical concepts and expressions of tone in black and white portrait photography, it can be seen that black and white portrait photography has simple and highly generalized artistic characteristics. It represents the characteristics, connotations, and aesthetic characteristics of black and white portrait photography with a unique art, and at the same time builds a bridge between the photographer and the viewer at the philosophical and aesthetic levels. (shrink)

What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on (...) the lack of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience. (shrink)

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and bring a divine presence to earth. The Necessity of Theater analyzes the (...) unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly. (shrink)

Is there any difference between playing video games in which the player’s character commits murder and video games in which the player’s character commits pedophilic acts? Morgan Luck’s “Gamer’s Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their characters, (...) and argue that the ethical difference between so-called “virtual murder” and “virtual pedophilia” is to be understood in terms of the fiction-making resources available to players. We propose that the relevant considerations for potential players to navigate concern (1) attempting to make certain characters intelligible, and (2) using aspects of oneself as resources for homomorphic representation. (shrink)

The attention for Moral case deliberation has increased over the past years. Previous research on MCD is often written from the perspective of MCD experts or MCD participants and we lack a more distant view to the role of MCD in Dutch health care institutions in general. The purpose of this paper is to provide an overview of the state of the art concerning MCD in the Netherlands. As part of a larger national study on clinical ethics support in the (...) Netherlands, we will focus on the prevalence and characteristics of MCD in Dutch health. A mixed methods design was used in which we combined two survey questionnaires, two focus groups and 17 individual interviews with top managers or ethics support staff. The findings demonstrate that the prevalence of MCD is relatively high in Dutch health care, especially in mental health care. Institutions with MCD differ from institutions without MCD concerning size, kind of problems and importance of ideological background. Characteristic of MCD is that it often exists for 3 years or more, has a high participation of health professionals and middle managers and is both organized scheduled as unscheduled. As well integration in existing policy as key persons emerge as important issues in relation to the positioning of MCD. We conclude that MCD is a part of an integrated ethics policy and serves as a catalyst for such an integrated ethics policy. (shrink)

The article devoted to the study of an artistic image of female saint from stylistic and linguocultural perspectives. The image is represented by the characters of Judith and Juliana in Anglo-Saxon literature. Stylistic peculiarities of the image are result of the fact that it emerges as a combination of heroic and religious genres. Thus, two genre pictures of the world account for characteristics of the image: on the one hand, it is described by epithets relating to the sphere (...) of divinity, on the other, by lexis relating to military heroism. As a result, Anglo-saxon female saint stands out among other female images by a considerable degree of activity, which is manifested at all levels of analysis. Female saints are connotated positively and described as ‘bright‘, ‘wise‘, and ‘brave‘. A category binding the image and a sphere of culture is a notion of value, which is reflected in a linguocultural concept. Study ofconceptual space of female saints contributes to reconstructing values and anti-values of the Anglo-Saxon period. An interaction of heroic and religious pictures of the world account for a specific character of an image of the saint in Old English literature, namely the co-existence of concepts typical of these conceptual outlooks. On the one hand, God-related concepts: God, love, glory, on the other, such heroic concepts as strength, bravery, dignity. Anti-values within the image are associated with the macroconcept ‘devil‘ and devil-related concepts like death and feud. (shrink)

William Storm reinterprets the concept of the tragic as both a fundamental human condition and an aesthetic process in dramatic art. He proposes an original theoretical relation between a generative and consistent tragic ground and complex characterization patterns. For Storm, it is the dismemberment of character, not the death, that is the signature mark of tragic drama. Basing his theory in the sparagmos, the dismembering rite associated with Dionysus, Storm identifies a rending tendency that transcends the ancient Greek setting and (...) can be recognized transhistorically. The dramatic character in any era who suffers the tragic fate must do so in the manner of the ancient god of theater: the depicted self is torn apart, figuratively if not literally, psychologically if not physically. Storm argues that a newly objectified concept of the tragic can prove more useful critically and diagnostically than the traditional and more subjective tragic "vision." Further, he develops a theory of the tragic field, a model for the connective and cumulative activity that brings about the distinctive Dionysian effect upon character. His theory is supported with case studies from Agamemnon and Iphigenia in Aulis, King Lear, and The Seagull. Storm's examination of the dramatic form of tragedy and the existential questions it raises is sensitive to both their universal relevance and their historical particularity. (shrink)

Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the relations (...) between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

Beginning with one of the most remarkable characteristics of cyber art, ‘interactivity’, in a context of generalized hybridization of the procedures and technological devices available in the current hyper-technological era, this article will highlight the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its ‘creationist’ and ‘reflexionist’ aspects into consideration, the proposed interpretation will adopt as its starting point the questions introduced by classical anthropology about festivity: What establishes community (...) in cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive play that is found in the work of art as such. The purpose is to gradually present, throughout the article, the peculiarity of the experience of ‘the festive’ in computing and numerical arts. (shrink)

Writing, or calligraphy, in China is strongly influenced by ancient techniques of making art. Chinese characters have evolved from the patterns of bronze drawings, and China’s earliest hieroglyphs usually retain the traces of their origin in paintings. These paintings usually recorded daily life, and the related Chinese characters have evolved from these with general, simplified and abstract features. The composition that makes Chinese characters is a manifestation of ancient Chinese philosophy, of which Confucianism, Taoism and Buddhism are (...) the three key strands. They have affected Chinese culture and aesthetics in all dynasties. Chinese philosophy emphasizes the integration of individuals in their surrounding environment. The art of ancient China consequently combines skills that relate to the artificial, or constructed, and to natural patterns. Chinese characters make a perfect example of this. The article/presentation will outline the research that I have so far undertaken on the relation between Chinese calligraphy and architectural space, between writing and constructing environments. It will also present some experimental design research that aims at developing from the above-mentioned basic research new architectural typologies that are contemporary, resonant and sensitive to the Chinese context. (shrink)

The problem of the character in literature is today one of the most pressing in Marxist-Leninist esthetics. Discussions over the category "character" never cease.

Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the natural (...) science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre. (shrink)

The French nineteenth century artists Henry Toulouse-Lautrec (1864-1901) is known for his distinctive style and bold character portraits of the theatrical scene of the gaslight era in Paris. The paper examines some of the formative influences of eighteenth century Japanese art on the development of visual characters, with specific focus on a lithograph entitled Divan Japonais. Alluding to the refined representation of Japanese courtesans, subtle nuanced reminiscences to an ideal of elegance create an allusion to highly respected courtesans in (...) the Japanese ‘Green Houses’ of the Asian Yoshiwara the famous “Good Luck Meadow” in Edo, present day Tokyo. I argue that Lautrec draws on techniques in Asian art, effectively creating a visual language that suggests a carefully crafted reevaluation of values. Lautrec’s visual language promotes sensibilities characteristic for a Japanese aesthetic and lifestyle that are also intrinsic to a traditional cultivation of moral virtues in Asia. The argument will be developed in conjunction with an analysis of diverse forms of visual language apparent in two works of Lautrec, a print by the Japanese artist Kitagawa Utamoro (1753-1806), and a photo of the dancer Jane Avril (1868—1943). (shrink)

AimTo investigate the status of positive mental characters and humanistic care ability among Chinese nursing students, and confirm the association between positive mental characters and humanistic care ability.MethodsA cross-sectional survey was conducted. Nine hundred eighty-one Chinese nursing students were recruited from hospitals and community healthcare services in Changsha, Hunan, China. Three different self-reported questionnaires were applied: The Demographic Characteristics Questionnaire, Humanistic care ability of Nursing Undergraduates Assessment Scale and Positive Mental Characters Scale for Chinese College Students. (...) Pearson correlation analysis and multiple liner regression analysis were performed to analyze the association between positive mental character and humanistic care ability for Chinese nursing students.ResultsThe mean scores of nursing students' humanistic care ability and positive mental character were 125.94 ± 21.19, 233.18 ± 38.59, respectively. The Pearson correlation results showed that positive mental character was significantly associated with humanistic care ability. Multiple liner regression analysis indicated that positive mental characters, four dimensions of courage, humanity, justice and transcendence in positive mental character, care from classmates were found to be independent predictors of humanistic care ability.ConclusionPositive mental characters are important considerations in the development, implementation and evaluation of humanistic care ability interventions. (shrink)

One character in Cortázar's novel truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear patterned (...) by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality. (shrink)

Architecture culture is the synthesis of material possession and spiritual wealth, created by human society history development and reflects historic continuity and nationality character. This paper has a comprehensive comparison analysis on distinctions of originality, architecture characteristic, developing logic, art forms, and intention between China and Western Countries exhibited on architectural culture, including three parts: ancient period, current period, and future development. Through comparison studies, it presents a comprehensive cognition on different cultural backgrounds and unique exhibition forms for different architectural (...) styles on China and Western Countries; have a deeper understanding on architectural culture communion in two different civilization zones; and find a future developing way with ethical features and spirit for Chinese and Western architecture. (shrink)

Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have (...) for our thinking about aesthetic education. Both of these concerns—with what works of art represent and what kind of knowledge they make available to us—have been central to recent analytic philosophy of art. While I.. (shrink)

Although the term “narrative” has been subject to very loose usage, it should be clear that scientific theories cannot be considered as such in the same sense as literary and artistic works. But this clearly calls the latter into serious epistemic question. On the one hand, we are often drawn to saying that agents have learned or come to know (morally or otherwise) something from literary or other artistic fictions; on the other hand, their fictional status seems to preclude regarding (...) this as knowledge. Drawing on insights from Plato’s Socratic and other dialogues, this paper argues that such learning from art and literature should be deemed genuine knowledge of an epistemically uncontroversial kind. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This volume explores the deeply interwoven connection of education, art and nature in the context of East Asia. With contributions from authors in South Korea, Japan and Taiwan, the book considers unnoticed but significant themes involved in the interplay of nature, art, and education. It manifests how nature and art can educate, and how education and nature play the role of art. The chapters explore a range of themes relevant to East Asian characteristics, including skill acquisition, Japanese calendar arts (...) and ritual of feelings, garden architecture, the ritualised body, collaborative poetry art, translational language between humans and nature, the Confucian classical Six Arts, the artistic embodiment of the Kyoto School, and the heritage art based education in Korea. The authors examine these themes in novel ways to bring to light the relevance of the East Asian insights to the contemporary global world. This book is an outstanding resource to all researchers, scholars, and students interested in educational aesthetics, philosophy of education, East Asian studies, comparative education and intercultural education. (shrink)

How should one live in order to live well? What are the defining characteristics of the good life? These questions - the perennial concern of classical scholars - have in the last 25 years become the subject of debates in contemporary social and political theory as well. Foucault, Taylor, Kekes, Cottingham and Nehamas have all stressed the importance of the?art of living? or?caring for the self? in light of contemporary political and economic developments. This article, as my contribution to (...) the debate, offers the analysis of two models of the?good life?: the one as presented by Plato and embodied in the literary character of Socrates, and the other as presented by Nikos Kazantzakis and embodied in the literary figure of Zorba. In general terms, Socrates advocates the rule of reason and the denigration and submission of the bodily Eros, while Zorba remains suspicious of the mind -?a careful little shopkeeper? - and stresses the significance of bodily experiences as ways of linking oneself with the rest of the universe. Hence in the article I formulate an ethic of sensual Eros by focusing on Zorba?s way of life and contrast it to the Socratic ethics. I conclude that the concern and respect for the body, for the house in which Eros dwells, is the necessary a priori for the living of the good life. This way of life is not one that rejects reason altogether, but what it does reject is the desire of reason to monopolize the individual?s life processes. Kako treba da se zivi da bi se zivjelo dobro? Sto su sustinske osobine dobrog zivota? Ova pitanja - kojima se teoreticari grcko-rimske filozofije vec odavno bave - postala su u poslednjih 25 godina i predmet debata u savremenoj drustvenoj i politickoj teoriji. Fuko, Tejlor, Kekes, Kotingham i Nehamas samo su najvazniji od onih koji su insistirali na vaznosti?umjetnosti zivljenja? ili?brige za sopstvo? u svjetlu savremenih politickih i ekonomskih desavanja. Ovaj rad, moj doprinos toj debati, nudi analizu dva modela?dobrog zivota?: jedan koji je predstavio Platon kroz svog knjizevnog junaka Sokrata i drugi koji je predstavio Nikos Kazantzakis kroz svog knjizevnog junaka Zorbu. Opste govoreci, Sokrat zastupa vladavinu razuma i unizavanje i potcinjenost tjelesnog Erosa, dok je Zorba pun sumnji vis-?-vis razuma -?tog pazljivog sitnog trgovca? - i instistira na vaznosti tjelesnih iskustava kao nacina za povezivanje sopstva sa ostatkom svijeta. Stoga u radu formulisem etiku sensualnog Erosa baziranu na Zorbinom nacinu zivota i uporedjujem je za Sokratovom etikom. Moj zakljucak je da je briga i uvazavanje tijela, kao kuce u kojoj Eros zivi, neophodan a priori za zivljenje dobrog zivota. Ovakav nacin zivota ne znaci odbacivanje razuma, ali znaci odbacivanje zelje razuma da monopolizuje sve zivotne procese pojedinca. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hume and Hume’s Connexions ed. by M. A. Stewart, John P. WrightIra SingerM. A. Stewart and John P. Wright, eds. Hume and Hume’s Connexions. University Park, PA: Penn State Press, 1995. Pp. xvi + 266. Cloth, $40.00. Paper, $18.95.This collection is organized around the theme of Hume’s connections with his philosophical predecessors, contemporaries, and successors.In a historical prelude, Roger Emerson meticulously describes the factions that supported and opposed (...) Hume’s efforts to gain a professorship. Emerson attributes Hume’s failure not only to the charges of impiety leveled against him, but also to the intricate workings of a political patronage system.Four essays about moral theory follow. James Moore attacks the conventional view that Hume’s moral theory is deeply similar to Hutcheson’s. In fact, Moore argues, surface similarities here mask systematic disagreements about justice, self-interest, teleology, theology, reason’s role within a sentimentalist framework, and about whether morality is, fundamentally, justified approbation for benevolence (Hutcheson) or sympathy’s merely natural tendency to generate feelings of approbation (Hume). These differences make sense, Moore notes, in light of Hutcheson’s debts to Stoicism, and Hume’s debts to Epicureanism. Stephen Darwall argues that, by parting company with Hutcheson on one crucial point, Hume opens up a logical space for Bentham’s Utilitarianism. Hutcheson explains the goodness of natural [End Page 141] goods, such as happiness, in terms of our distinctively moral approval of benevolence: happiness is good because a benevolent person wills general happiness. Hume instead explains our moral approval of qualities of character in terms of natural goods and the psychological mechanism of sympathy: a benevolent person receives moral approval because she produces happiness for herself and others, including sympathetic spectators. Darwall claims that Hume thus foreshadows Bentham’s efforts to set our moral judgments on an uncontroversial nonmoral foundation. Pauline C. Westerman discusses the relation between Hume and the natural lawyers. Hume shares some of their characteristic concerns, such as accounting for the origin of private property, and employs some of their terminology. Still, Westerman argues, while Grotius and Pufendorff wanted to justify morality, Hume wants only to explain it. Finally, John P. Wright invokes Butler’s account of habit to illuminate Hume’s notion of a calm passion. Butler argues that, as a habit develops, repetition weakens feelings while strengthening the tendency to act: distress will seldom shock someone habituated into generosity, who will reliably act to relieve that distress. Citing this psychological dynamic, Wright argues, helps to explain what a calm passion is, and how it can prevail over a violent passion.Two essays concern philosophy of mind and epistemology. P. B. Wood uses Thomas Kuhn’s concept of texts that are “exemplars” for working scientists to illuminate the “science of mind” as Hume and Reid practiced it. David Owen puts “inductive skepticism” into historical context, arguing that in that context, Hume appears as neither the victim nor the opponent of deductivism about rationality. Instead, Hume’s focus is Locke’s account of probable reasoning, according to which such reasoning involves a chain of associated ideas (not a formal structure of propositions). Hume’s argument is that our causal thinking proceeds differently than Locke requires, because in it we do not follow an unbroken series of associated perceptions, but rather leap over the gap between our impressions up to now and the general causal idea.The book’s centerpiece is a fragmentary Hume manuscript, discovered in 1993, about the problem of evil. The manuscript appears in both facsimile and transcription. In introducing the manuscript, M. A. Stewart argues plausibly that it is one of the “nobler parts” that Hume cut from the Treatise to avoid offending Bishop Butler.Four essays discuss philosophy of religion. Reflecting on miracles, Stewart traces a tradition of critically examining religious testimony back to the Port-Royal Logic and to Locke; moreover, Stewart emphasizes that Hume’s method in “Of Miracles” is similar to his method in debunking the Ossian poems. Michel Malherbe, taking as his point of departure those remarks by “Pamphilus” that preface the Dialogues, and reviewing in detail Shaftesbury’s pronouncements about the art of philosophical dialogue, discusses... (shrink)

This article examines stasis in Chantal Akerman's cinema by means of a genealogical study into its minimalist origins in order to make visible its political operationality in her work and, by extension, its inherent political potential. Stasis is an aesthetic effect generated through the use of repetition, seriality, and duration in temporal media that proliferated in Minimalism across artforms and was taken up by Akerman during her séjour in New York in the early 1970s. The characteristic endless temporality created by (...) stasis in temporal media takes shape in Minimalism due in part to the movement's literalist, phenomenological orientation, which at one point caused Minimalist art to be regarded as nonideological – this while the static quality in Akerman's work appears to be constitutive of its political character. A study of her early films Hotel Monterey (1972) and Je tu il elle (1974), clearly influenced by the Minimalist scene she was immersed in, illustrates how stasis emerges analogously in Minimalist music, dance, and Akerman's cinema. Minimalism's paradigmatically phenomenological orientation and its intricate entwinement with stasis are examined in relation to Akerman's work to reveal their inherent potential for political operationality in art. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

No thinker has reflected more deeply on the role of religion in human life than Søren Kierkegaard, who produced in little more than a decade an astonishing number of works devoted to an analysis of the kind of personality, character, and spiritual qualities needed to become an authentic human being or self. Understanding religion to consist essentially as an inward, passionate, personal relation to God or the eternal, Kierkegaard depicts the art of living religiously as a self through the creation (...) of a kaleidoscope of poetic figures who exemplify the constituents of selfhood or the lack thereof. The present study seeks to bring Kierkegaard into conversation with contemporary empirical psychology and virtue ethics, highlighting spiritual dimensions of human existence in his thought that are inaccessible to empirical measurement, as well as challenging on religious grounds the claim that he is a virtue ethicist in continuity with the classical and medieval virtue tradition. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

The article discusses the main anthropological ideas in diaspore’s prose in the context of existing traditions and postmodern stylistic characteristics. It also highlights characteristic features of the Ukrainian diaspora’s prose. The latter contains the views on the literary character as personality, as well as the world and place of humans in it. Importantly, the research follows the concepts of Christian theology, superhuman, rationalism, and postmodernism. It also emphasizes the axiological matrices of humans and their worldviews. The scientific value of (...) the article lies in disclosing anthropological models that correspond to axiological functionality. Using the prose of the Ukrainian diaspora and the art of words, the authors of the article attempt to find how to overcome the crisis of human and society. The proposed approach allows finding the place of humans in this world and give their lives meaning. It shows that the world is beautiful and cannot exist on its own, given that it acts as one’s awareness. At the same time, the anthropological concept is considered a system. Furthermore, the authors have applied a system of theoretical-methodological approaches to the problem in question. It was important to identify the main theoretical principles of the research, describe anthropological ideas of prose and highlight anthropological ideas in the Ukrainian diaspora’s prose in the context of existing traditions and postmodern postulates. (shrink)

Religious faith may manifest itself, among other things, as a mode of seeing the ordinary world, which invests that world imaginatively with an unseen depth of divine intention and spiritual significance. While such seeing may well be truthful, it is also unavoidably constructive, involving the imagination in its philosophical sense of the capacity to organize underdetermined or ambiguous sense date into a whole or gestalt. One of the characteristic ways in which biblical narratives inspire and teach is by renewing their (...) characters’ and readers’ imagination. The texts do so not inexorably but in a similar way as works of art. This paper therefore investigates the ways in which works of art engage and develop the imagination, and thereby enable renewed perceptual and cognitive engagement with the world. The paper introduces predictive processing as a helpful psychological theory for analyzing this dynamic, and outlines questions for further research. (shrink)

As kendo continues to gain in international popularity, there are hopes for its adoption in the Olympic Games as an international competitive event, even while moves to further this aim have not necessarily occurred in Japan or elsewhere. One reason for the efforts to achieve a form of globalization of kendo different from Judo is the attempt to adhere to and preserve the unique concepts kendo, the sport embodies by remaining true to the forms of traditional Japanese culture. This is (...) epitomized by the importance given to zanshin (the combination of posture and fighting spirit after striking), one of the key concepts that constitute yuko-datotsu in kendo. Our purpose in this study is to discuss the intersubjective nature of the decisions regarding the conditions for point-scoring in competitive sports. In particular, we will focus on the aesthetics required for zanshin in kendo, focusing on the theory behind yuko-datotsu (point score), which will also considerably influence its international dissemination. Kendo is characterized from the perspective of western rationalism as an appreciation of form and rules of behavior referred to as formalism and, in this respect, it has unique characteristics differing from those of modern sports that are disseminated internationally. In martial arts, besides refinement and proficiency in the rules of behavior by rigidly adhering to form and rules of behavior and repetition, the aim is to transcend said form and the rules of behavior and embody the spiritual nature dwelling in the background. Kendo should remain traditional path and keep zanshin in the value of point (yuko-datotsu) for its virtue. Kendo has not yet developed into an international competitive sport, but it is in the process of traversing that Geido path as a Do for the purpose of character building through it. Throughout life, one should try to devote oneself to kendo with thought for the value of transcending form and the rules of behaviour, and embodying the spiritual nature of the sport that inheres in its background. That is why one may perceive an evident hesitation or indeed negativity regarding the possible internationalization or development as an Olympic event. (shrink)