It was the summer of 1984, the American dollar was strong, and this was my first venture to Europe. I found her and didn't even know I was searching for her. Mysteriously she crossed my path one day in Rome. I should confess though- at this point in my life, I am an uneasy Protestant.

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...) and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen and the Art of DeathMaja Milcinski*When reflecting on immortality, longevity, death, and suicide, or taking into consideration some of the central concepts of the Sino-Japanese philosophical tradition, such as impermanence (Chinese: wuchang; Japanese: mujo), we see that the philosophical methods developed in the Graeco-Judeo-Christian tradition might not be very suitable. On the other hand it is instructive to contrast them with the similar themes developed in the Graeco-Judeo-Christian (...) tradition, since these problems present a challenge for a redefinition of philosophy, which has traditionally regarded itself as a European (and in an even less acceptable variation as a Western) phenomenon. As such the very borders of philosophical discourse known in European history as philosophia are today being reconsidered. Although the notion of philosophy (love of wisdom) is distinctly Greek in origin, this does not mean that Asia failed to cultivate activities similar to that. The absence of this notion in China and Japan does not necessarily imply a lack of the cultivation of wisdom within their traditions. Could this mean that, paradoxically, the “philo-“ limits this complex activity primarily to rationally mastered undertakings?By rethinking the history of philosophy as a single narrative, one might come closer to the movements related to the levels of consciousness that were activated in philosophical undertakings in various Asian philosophical schools. In this regard Japanese and Chinese Buddhist philosophical traditions might be instructive since, through the various stages of their development, they have attempted to put the inexpressible into words. The awareness of the insufficiency of words resulted in many original solutions. In the Song dynasty, for instance, China produced a variety of diagrams (tu), by which philosophers and practitioners represented their theories. These formulations, often arose on the basis of meditation techniques and could not therefore be fully transmitted by means of language alone. The illustration of the nine-step process (known in [End Page 385] Japan as kuso) is one such representation, and it is taken here as a point of departure for approaching the concept of impermanence and death in the Japanese philosophical context.One possible means of approaching the discussed topic is to contrast it with the ways in which impermanence, particularly with the phenomenon of death as one of its aspects, has been perceived in the European tradition. It would be naive to generalize and stress the impression that fear of death is much more central and influential in the Euro-American life style than in the Asian one, since it is rooted in human biological and subconscious mechanisms. This paper, however, tries to point at the subtle difference which exists in the spiritual realm.Europe and ImpermanenceThe European Middle Ages developed the so-called ars moriendi, the art of dying. It was this tradition which produced sayings such as “My Lord, it is a great art to die well, and one to be learned by men in health” 1 and the many variations of the dance of death (danse macabre). This awareness of human mortality was also spread by texts, of which the following inspired thought is characteristic: “The one who has not learned how to die, will die against his will. Learn how to die and you will know how to live, since nobody will learn how to live, who has not learned how to die. He shall be y-cleped a wretch that cannot live and dare not die.” 2 These undertakings, however, did not succeed in building any kind of permanent discipline in Europeans connected with the idea of impermanence and death. Rather, it left them caught up in the dizziness of everyday life. The ars moriendi vanished from their consciousness and only became manifest when actual circumstances provoked it, if indeed at all, since often at the moment of impending death people are completely terrified in the light of the prospect of losing their Ego. Although in Christianity there is a tradition of seeing death as a new beginning, some Christians remain skeptical of this “new beginning.” Beginning of what? Is it an illusion of “heaven,” a reflection of this world without suffering and frustrations? In this respect the ars moriendi was cultivating something else: impermanence... (shrink)

In this essay Christiane Thompson discusses the systematic outcomes of Theodor Adorno's philosophical work for a reworked theory of Bildung. In his essay “Theory of Halbbildung,” Adorno revealed the inevitable failure of Bildung, on the one hand, and the necessity of Bildung, on the other. After having exposed this contradiction, Thompson seeks to analyze Bildung's systematic role by turning to Adorno's reflections on art and metaphysics. Adorno's concept of aesthetic experience hints at the possibility of a more genuine approach to (...) Bildung and culture, one that makes the borders of our experience visible and, as a result, suggests a different relation to ourselves and to the world. She concludes by examining the critical dimensions of this different Bildung as well as its pedagogical relevance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Zen and the Art of Postmodern Philosophy: Two Paths of Liberation from the Representational Mode of ThinkingRobert MagliolaZen and the Art of Postmodern Philosophy: Two Paths of Liberation from the Representational Mode of Thinking. By Carl Olson. New York: State University of New York Press, 2000. 309 pp.Carl Olson's Zen and the Art of Postmodern Philosophy compares two paths of liberation from the representational mode of thinking, namely, (...) Zen Buddhism and postmodern philosophy. Olson is to be commended for encouraging this dialogue, especially since professors of religious studies usually marginalize Gallic postmodern thought. He is also to be appreciated for the enormous effort that must have been required to describe so much material. Olson treats Bataille, Baudrillard, Deleuze, Derrida, Guattari, Foucault, Kristeva, Lacan, Levinas, and Lyotard on the postmodern side; and Dogen, Hakuin, Nishitani, many Chinese Ch'anists, and some Indian Buddhists on the Buddhist side. His method is to arrange the chapters according to topoi such as "Language, Disruption, and Play," "Ways of Thinking," "The Body," and so on, and to treat the pertaining ideas of the individual Buddhist and postmodern authors insofar as applicable.Because Olson's book assembles between two covers the names, selected works, and—at least in a general sense—the "key" ideas of the postmodern movement and their grosso modo similarities/dissimilarities via-à-vis Zen Buddhism, I think it serves an undergraduate readership well enough. The problem is that the book too often performs like a crib sheet in the CliffsNotes manner, reducing so-called "key" ideas to misleading clichés. The book is at its best when it gives an author some length of attention, as it does with Dogen. Rather than reduce my review to a series of sound bites (print bites?) corresponding to Olson's, I shall resort to what hermeneuts call an Auerbachian decoupage, that is, a close analysis of several passages that can be taken as indicative of an author's mode in general. I'll address three interpretations from Olson's book, one of Derrida, one of a Chinese kung-an (koan), and one of Lacan.Within his comparison of Derrida/language/Buddhism, Olson cites (p. 46) a sentence from Derrida's Writing and Difference: "Speech is stolen: since it is stolen [End Page 295] from language it is, thus, stolen from itself, that is, from the thief who has always already lost speech as property and initiative." Olson glosses as follows: "Derrida claims that a speaking subject, representing an irreducible secondary status, is no longer the person who speaks because his/her origin is elusive in an already established field of speech." Because of glosses like this, Derrida is all too often subjected to the ridicule of nonspecialists, who exclaim, "Derrida denies that a person can use speech instrumentally? Aren't his lectures the instruments of his own ideas?" Actually in the section Olson quotes, Derrida is appropriating Lacanian thought and mutating it for Derridean purposes. For Derrida, all life is stretched out in time and diced-out in space in such a way that phenomenological self-identity is an illusion. Physical writing is the best metaphor for this, in that written words (even Chinese ideograms) cannot, in the scientific sense, be perceived in one absolute moment: it "takes time" and it "takes space" to recognize a word, that is, "build" a word-meaning. Derrida calls life a "text" or "writing" because life is like writing: life on the phenomenological level appears holistic (much as a word-meaning appears self-identical, i.e., arising all at once), but life is actually a time/space "drift."1In the sentence Olson quotes, what Derrida means has the following gist: Speech (spoken words) is stolen from language in that it belongs to language as writing and is really writing; and insofar as it is really writing, it is stolen from itself; speech has "always already" been lost to language in that the instrumentality of speech is always undercut by language's nature as writing. Speech is always undercut by an inevitable drift that subverts intentionality and foils our attempts to make speech our absolute "property." This does not mean most of the intention... (shrink)

Perceptions are often merely regarded as the basic elements of knowledge. They have, however, a complex structure of their own and are far from being elementary. My paper will analyze two basic patterns of perception and some of the resulting medical implications. Most basically, all object perception is characterized by a mixture of knowledge and ignorance (Husserl). Perception essentially perceives with inner and outer horizons, brought about by the kinesthetic activity of the perceiving subject (Sartre). This first layer of perceptual (...) reality, the world of open perceptions, is the inescapable background for every rationality, every value, every existence (Merleau-Ponty). On an epistemological level a characteristic change of perceptual patterns in medicine was introduced by pathological anatomy (Foucault). The reference of medical perception to the dead body created the new possibility of absolute perception, allowing for more precise medical interventions, but at the same time coming into conflict with the open structures of ordinary, non-scientific perception patterns in everyday life. On the basis of these distinctions, an analysis of the different perceptual patterns in medicine becomes possible. Such an analysis would be the task of a sub-field in medical philosophy that could be called medical aesthetics having as its goal an art of perception understood as a technique of adequately applying different perceptual patterns in medical practice. (shrink)

This paper critically examines David Berman's theological lying interpretation of Hume and identifies two types of theological lying: the denial of atheism strategy and the pious Christian strategy. It is argued that neither reading successfully establishes an atheist interpretation of Hume. Moreover, circumstantial evidence shows that Hume's position was different from that of the atheists of his time. Attributions theological lying to Hume, therefore, are unwarranted and should be rejected, even if we grant that this literary technique was used in (...) the early-modern era. Analysing other non-theistic readings of Hume is beyond the scope of this paper. However, given that Berman presents one of most elaborated atheist reinterpretations of Hume's affirmative theistic passages, the failure of Berman's analysis shows that rejecting these passages should not be the default interpretive approach, and it is reasonable to attribute to Hume a weak, indeterminate theism. (shrink)

This book discusses Ramon Llull (ca. 1232-1316), the Christian missionary, philosopher and mystic, his relations with Jewish contemporaries, and how he ...

Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...) mathematics. I always had the feeling that there is much freedom in mathematics and that one can do as one pleases as long as one avoids contradictions (and one can even live with contradictions for a while). In mathematics one only needs to define something and there it is! Just imagine it, and it immediately exists. Where else, besides fiction, does one have such power? --- This essay has three parts. In the first, I lay out some historical facts and views that I will need later. Second, I insert an interlude with Kant, pointing out some of his claims and insights in aesthetics, and some aspects in mathematics that I think he overlooked or underestimated. Third, I will bring out some aspects of higher mathematics that I will show are similar to art. These aspects are in the doing and creating of mathematics, not in the finished theories. They are usually not found in textbooks. I want to show that a researcher in mathematics is like a painter or composer, exploring and creating. To see this, one has to adopt a first-person perspective. In this way I will show that aesthetics plays a role and leaves its traces also in mathematics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Holy Spirit and the World Religions:On the Christian Discernment of Spirit(s) "after" BuddhismAmos YongIntroductionArguably, recent Christian theological reflection on religious pluralism and the world religious traditions has taken what might be called "a pneumatological turn."1 This emerging conversation is itself an outgrowth of focused attention on both pneumatology and trinitarian theology during the last generation. Applied to the world of the religions, the turn to pneumatology has furthered (...) discussion on theology of religious pluralism by introducing new categories and shifting directions of inquiry. So whereas previous thinking about the religions focused on whether or not they were or are salvific, a pneumatological theology of religions asks whether or not and how, if so, the religions are divinely providential instruments designed for various purposes. Further, while earlier debates focused on whether or not the religions were or are the results of common grace or natural revelation, a pneumatological theologiareligionum asks other kinds of questions, such as, what is the relationship of religion and culture, or of religion and language? How does religion function to sustain life and community? What role does religion play via-à-vis the other dimensions and domains of life, whether it be the arts, politics, economics, etc.? Finally, previous theologies of religion bogged down on abstract intra-Christian issues as evident in the dominant categories of exclusivism, inclusivism, and pluralism; a pneumatological theology of religions, on the other hand, attempts to push beyond these in-house categories by engaging religious others on their own terms.In explorations of a pneumatological theology of religions, however, one set of problematic questions repeatedly arises. Simply put, it has to do with how Christians can discern the Holy Spirit in the world of the religions and do so nonimperialistically in our postcolonial world. The Christian assumption is that besides the Holy Spirit of God, there are other spirits, perhaps unholy ones—human, institutional, even demonic—that are operative in the world in general and in the religions particularly. The biblical injunction to "test the spirits to see whether they are from [End Page 191] God" (1 John 4:1) is especially crucial for a pneumatological theology of religions. The Johannine account presents a criterion for discerning the Spirit that is christological: "every spirit that does not confess Jesus is not from God. And this is the spirit of the antichrist" (1 John 4:3). The immediate goal in the Johannine context is to provide tools to discern Gnostic deformations of Christian faith within the community. In the present situation of encountering religious pluralism, however, the context is interreligious rather than intra-Christian, and the task is complicated by the fact that other religious traditions may well have different definitions of the good, beautiful, true, and holy, and different criteria to discern such.The dilemma is this: If we discern the Spirit using Christian (e.g., biblical) criteria, we end up either "christianizing" the other insofar as we find the Spirit to be present, or "demonizing" the other insofar as we find the Spirit absent. In the former case, we appear to have allied ourselves with Rahner's idea of "anonymous Christianity," and thus opened ourselves up to all the difficult counterquestions generated by such a position, not the least of which is that we have imposed our own categories on religious others who are distinct from ourselves and have their own self-understandings. In the latter case, not only have we arrived at theologically charged rhetoric liable to be abused socially and politically, but we have also done so by declaring religious others void of certain goods and values as determined by criteria external to them. In fact, even to ask if the Spirit is present and active in other religions is to stand within a Christian framework—the Holy Spirit always being the Spirit of Jesus and the Spirit of Christ, which is not assumed by other faiths. What is the alternative? Can Christians even attempt to discern the Holy Spirit using non-Christian (i.e., non-biblical) criteria or criteria derived from other faiths? Does not to do so result either in relativizing Christian norms alongside those of other faiths or in reverse... (shrink)

In this paper I raise awareness of a crucial blind spot in scholarship on the Christian-Jewish dialogue. The main argument of the paper is that a closer examination of the dialogue form is necessary in order to assess the tenability of Christian-Jewish dialogue. Despite the widespread talk and intensive scholarship about the Jewish-Christian dialogue two things remain unclear: what concept of dialogue is presupposed; what makes the dialogue form appropriate for the Christian-Jewish encounter. This paper discusses the possibility that the (...) use of the dialogue form is a means of theological imperialism. I both rule out this possibility and propose an argument to justify the tenability of Jewish-Christian dialogue that I defend against objections which follow from Richard Swinburne’s Christian philosophy of revelation. (shrink)

St. Augustine was a consummate artist as well as a great philosopher, and he was deeply concerned with art, beauty and human values. But little attention has been paid to his theory of aesthetics. Now a distinguished Augustine scholar turns to this important subject and offers a book that is at once engaging, comprehensive and complete.

"In this illustrated book, Christiane L. Joost-Gaugier sets out the panorama of Pythagoras's influence and that of Christian and Jewish thinkers who followed ...

A study of the relevance of existential philosophy and art for present-day Christianity. The editor introduces the volume with a concise and pointed chapter on "What Is Existentialism?", following which are papers by Richard Niebuhr, John Mackay, Matthew Spinka, Langmead Casserley, Erich Dinkler, Paul Tillich, and Stanley Romaine Hopper. The book makes unmistakably clear that existentialism is having a tremendous impact on Christian thought in our time.--D. R.

Kierkegaard's ambiguous aesthetics -- Becoming Christian -- Christ and the art of subjective becoming -- Mimesis, aesthetics, and Christian becoming -- Becoming amidst the existence stages -- Becoming and art.

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, (...) east and west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

Descartes’s concern with the proper method of belief formation is evident in the titles of his works—e.g., The Search after Truth, The Rules for the Direction of the Mind, and The Discourse on Method of rightly conducting one’s reason and seeking the truth in the sciences. It is most apparent, however, in his famous discussions, both in the Meditations and in the Principles, of one particularly noteworthy source of our doxastic errors—namely, the misuse of one’s will. What is not widely (...) recognized, let alone appreciated and understood, is the relationship between his concern with belief formation and his concern with virtue. In fact, few seem to realize that Descartes regards doxastic errors as moral errors and as sins both because such errors are intrinsically vicious and because they entail notably deleterious social consequences. Reforming the Art of Living seeks to rectify this rather common oversight in two ways. First, it aims to elucidate the nature of Descartes’s account of virtuous belief formation. Second, it aims both (i) to illuminate the social significance of Descartes’s philosophical program as it relates to the understanding and practice not of science, but of religion and (ii) to develop a kind of Leibnizian critique of this aspect of his program. More specifically, it aims to show that Descartes’s project is “dangerous,” insofar as it is subversive not only of traditional Christianity but also of other traditional forms of religion, both in theory and in practice. (shrink)

This is the first study that directly links Krausism to the Spanish avant-garde. To this end, the book is presented in chronological order in efforts to highlight how Krausism evolved and affected the culture of Spain. Those changes occurred in the fields of education, politics, philosophy, literature, and arts, to name a few.

R. J. O'Connell’s latest book has all the sterling literary qualities of its predecessors, St. Augustine’s Early Theory of Man and St. Augustine’s Confessions: The Odyssey of the Soul. The task in the present case was fraught with new and graver perils; for, although considerations on art abound in Augustine, the subject never receives the full-blown treatment to which modern aesthetic theory has accustomed us. The one possible exception to this rule is the De musica, but even it deals with (...) music as a science rather than as an art and does little to alter the perspective established in the other dialogues. The bulk of the essay traces the evolution of Augustine’s theory of art through the early dialogues, the Confessions, and, in less detailed fashion, the works of his mature period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Meeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the SelfBrian KarafinMeeting the Great Bliss Queen: Buddhists, Feminists, and the Art of the Self. By Anne Carolyn Klein. Boston: Beacon, 1995. 307 pp.“When the iron bird flies and carriages run on wheels, the dharma will come to the land of the red man”: this saying attributed to the semilegendary founder of Buddhism in Tibet, Padmasambhava, stands as (...) an oft-cited marker for the sense that the meeting between Tibetan Buddhism and North American culture was somehow a [End Page 227] fated one, a confluence emergent from some karmic relationship or mythical dependent-arising. Karmic connection or historical product of the near-simultaneous exile of Tibetans from their homeland in 1959 and the burgeoning of Western interest in Eastern religions and philosophies, the encounter of these two mutually and exotically other traditions is, nearing the second Christian millennium, proceeding apace. Especially since the 1989 awarding of the Nobel Peace Prize to the spiritual and temporal leader of the Tibetans—and now international pop icon—the Fourteenth Dalai Lama, the Western fascination for things Tibetan has exponentially increased, transforming what had been the preserve of scholars and eccentric spiritual seekers into a media sensation.The reception of Tibetan Buddhism in the West has proceeded in stages and phases that overlap and mutually affect each other, from pop phantasms of Tibet as a mythical Shangri-La (as in James Hilton’s Lost Horizon) and theosophical hopes in Tibet as the domain of the Wise Mahatmas overseeing the spiritual evolution of humanity to the relatively recent development of Tibetan studies as an academic discipline centered on the translation of texts, as well as the growing population of westerners practicing Tibetan Buddhist religion under the guidance of exiled lamas. With these latter two groups—scholars and practitioners who often overlap memberships—the phenomenon of Tibetan Buddhism in the West has reached a point where critical self-reflection is now possible. Donald Lopez’ recent Prisoners of Shangri-La: Tibetan Buddhism and the West is the first full-length critical examination of the cultural confluence I’ve been noticing thus far. Lopez represents a movement in the field of Tibetan studies from philological scholarship of texts, in which the scholarly effort consists largely of translation along with commentary that closely follows the commentarial literature of the Tibetan tradition being translated, to cultural criticism of the underlying dynamics in the encounter itself.This critical self-consciousness in the field of Tibetan studies is likewise the motivating impetus behind Anne Klein’s recent work as represented by the book under review here. Klein, like Lopez, was a student of the dean of American Tibetan studies, Jeffrey Hopkins, at the University of Virginia. As such, her early work followed Hopkins in pursuing an essentially philological approach to Tibetan tradition with a focus on the philosophical scholasticism of the Gelukpa lineage. Klein’s three philological-philosophical books—Knowledge and Liberation; Knowing, Naming, and Negation; and Path to the Middle—are excellent examples of the genre of translation/commentary above mentioned, treating the Sautrantika and Madhyamika tenet systems in which the Gelukpa tradition systematized Indian Buddhist philosophy for the purposes of monastic study and debate. Meeting the Great Bliss Queen is something else entirely; in this work Klein blazes a trail out from recondite translation work toward cultural critique and psychosocial self-reflection in which the previously submerged subtext of the encounter between the Tibetan tradition and the Western psyche and society is allowed to surface and its issues probed and reflected upon.Klein frames her work in terms of a dialogue between Buddhism (by which she mainly means meditation practices and some associated philosophy) and feminism (by which she means both academic feminist theory and her own autobiographical [End Page 228] experience as a Western woman personally experiencing the confluence of Western and Tibetan exigencies). Klein is a salient example of a scholar-practitioner, someone who occupies positions both in the academic field of Tibetan studies and in the population of students of Tibetan lamas in exile. As such, she is exactly situated to embark on such a project of cultural and psychological reflection. She knows... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Your Cell Will Teach You Everything":Old Wisdom, Modern Science, and the Art of AttentionNoreen HerzfeldA brother came to Scetis to visit Abba Moses and asked him "Father, give me a word." The old man said to him "Go, sit in your cell, and your cell will teach you everything." 1 Among the Desert Fathers, Christian monks of the fourth and fifth centuries, it was customary for a novice to (...) go to an elder and ask for "a word," a word of advice, of counsel, a word to take home and reflect on. What does this word of advice say to us today?A Multitasking World"Your cell will teach you everything." To my students, this seems like very strange advice indeed. "Your cell?" When I quoted Abba Moses to a colleague he instinctively reached for his phone. But a monk's cell? Isn't a monk's cell empty, isolated? What can that cell possibly have to teach? And how? The lives of the young men and women I teach are the very antithesis of sitting in a cell. Their attention is fragmented, divided by an array of modern technologies. I watch them walk by my office window, iPod plugged into the ears, cell phone or Blackberry in hand as they check e-mail or send a text message. Time in their rooms is characterized by one eye on the television and another on the computer, on which are open their theology paper, an instant messaging box or two connecting them to friends, their Facebook page, in case one of their friends should post a status update, and perhaps a Twitter feed or their favorite blog. They assure me that they have grown up multitasking. Young Americans spend an average of six hours a day using nonprint media, and at least a quarter of that time they are using more than one screen, device, or channel.2 They are connected, linked in, logged on.It is not just the student who multitasks while doing homework. The average office worker is interrupted roughly every three minutes during the workday, interruptions that the worker herself often initiates.3 These include the phone, e-mail, [End Page 83] checking websites. As more jobs move to the knowledge and service sectors, more of us find the temptation to multitask at work irresistible.But what effect does all this multitasking have on the person? We're not getting more done, for one thing. Several recent studies have shown that, contrary to self-perception, people really can't multitask. The brain cannot concentrate on several things simultaneously. Instead it switches focus from task to task the same way a computer does. This means that all tasks are slowed down somewhat by the switching process, and the attempt to coordinate too many tasks can lead to more time being devoted to the switching than to the tasks at hand, a phenomenon computer scientists have long been aware of, known as "thrashing." Earl Miller, a neuroscientist at MIT, notes: "Think about writing an e-mail and talking on the phone at the same time. You cannot focus on one while doing the other. That's because of interference between the two tasks."4 Miller notes that in an MRI you can actually see the brain struggling as it shifts rapidly from one to the other.One can see that this might have a deleterious effect on one's work life. Research shows that, once interrupted by an e-mail or a phone call, the average worker can take up to half an hour to return to full concentration on the task at hand.5 But why does this matter for the spiritual life? Over time, multitasking erodes our ability to pay focused, close attention, and this eventually eats away at traits such as patience, tenacity, judgment, and problem solving. This is most evident in the latter. In a test of fifteen-year-olds, the United States ranks twenty-fourth out of the twenty-nine developed countries in the Organization for Economic Co-operation and Development on problem solving skills, with nearly 60 percent of them scoring below the most basic level of using a single... (shrink)

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita muscaria, (...) as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity. (shrink)

In his early work, Martin Heidegger argues for a rigorous methodological atheism in philosophy, which is not opposed to religious faith but only to the impact of faith when one is philosophizing. For the young Heidegger, the philosopher, even though possibly a religious person, must be an atheist when doing philosophy. Christian philosophy, then, is a round square. In this essay, I unpack Heidegger’s methodological considerations and attempt to draw parallels with other traditions which argue for the possibility of a (...) Christian philosophy but at root concede Heidegger’s atheism. In conclusion, I propose that it is precisely Heidegger’s work which points to the inescapabiIity of and opens the door to religious philosophy. (shrink)

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, (...) however, the neighbourhood has become a place with bad reputation, “a den of thieves”. The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship. (shrink)