Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

In Rapture some mad shit happens: there are Plasmids that allow players to fire bees out of their hands, generate electricity bolts, set enemies on fire, pick stuff up using telekinetic powers, and much more. One theory is that physical things are those that can be completely described by the vocabulary of the best possible theory of physics. Physicalism would thus be the view that this theory of physics would completely specify all the fundamental categories, all the ingredients we (...) need to make the world. Another theory is that the physical properties are the ones needed to account for the objects we accept as physical; for example, Andrew Ryan's putter. The physicalist's claim would be that these properties are the only ones we need to account for the rest of the world. (shrink)

What is it like to experience rapture? For philosopher Christopher Hamilton, it is a loss of self that is also a return to self—an overflowing and emptying out of the self that also nourishes and fills the self. In this inviting book, he reflects on the nature of rapture and its crucial yet unacknowledged place in our lives. Hamilton explores moments of rapture in everyday existence and aesthetic experience, tracing its disruptive power and illuminating its philosophical significance. (...) Rapture is found in sexual love and other forms of intense physical experience, such as Philippe Petit’s nerve-defying wire walk between the Twin Towers. Hamilton also locates it in quieter but equally joyous moments, such as contemplating a work of art or the natural world. He considers a range of examples in philosophy and culture—Nietzsche and Weil, Woolf and Chekhov, the extremes of experience in Werner Herzog’s films—as well as aspects of ordinary life, from illness to gardening. Conversational and evocative, this book calls on us to ask how we might make ourselves more open to experiences of rapturous joy and freedom. (shrink)

" "The Particulars of Rapture proposes treating affects in adverbial rather than in adjectival terms, emphasizing the way in which text and paintings shape ...

A comparison of Western and Indian philosophies using syncope, to describe the escape from self and the rapture of uncertainty in human endeavour.

If one knows everything there is to know about a person's state while playing BioShock, if one could describe the exact neurons firing, the synapses responding, and so on, one still wouldn't know what it is like to play BioShock. This is precisely what phenomenology is interested in. Some philosophers would argue that there are a great number of phenomenological methods, but the author thinks they basically fall into two categories: the phenomenological tradition and art as phenomenology. Infinite is phenomenologically (...) interesting because the game's designers have poured phenomenological ideas into Columbia and Elizabeth, which one can then read as if they were books containing a phenomenological analysis of reality. Once the player is comfortable in the role of protagonist, one is easily absorbed by the worlds of Rapture and Columbia. The phenomenological relevance of these insights is that they reveal something about oneself. (shrink)

From nearly the author's first experience entering the underwater city of Rapture in BioShock, she is treated to a taste of Andrew Ryan's propaganda. Andrew Ryan regularly says that citizens of Rapture need to avoid all contact with the surface world because it's filled with parasites who seek to destroy Rapture. Even though what Ryan says about the outside world is true, he's lying because he believes it to be false. According to Harry Frankfurt, bullshit is when (...) the speaker doesn't particularly care whether what she says is true or false. The analysis in this chapter suggests that propaganda is more closely connected to bullshitting than lying. The author says that if propaganda is more closely associated with bullshit than lies, then this also means that one should be particularly worried by governments (or individuals with power, such as Andrew Ryan) that engage in lots of propaganda. (shrink)

This article chronicles the material conditions of producing a film in the Philippine independent film scene which has experienced a marked resurgence at the turn of the century, and has been credited for having revived the ailing Filipino film industry. By way of case study, I use my own film Ang Panggagahasa kay Fe (international title: The Rapture of Fe), awarded the best feature-length digital film at the 33rd Cairo Film Festival in 2009. I co-produced, wrote and directed this (...) film. I recount the different factors that helped shape the film, from scripting to film financing, and provide further evidence of the significance of the private sector, in infusing new money and in reviving the national Filipino film industry as a whole. (shrink)

Religious views of the future often include detailed expectations of profound changes to nature and humanity. Popular American evangelical Christianity, especially writers like Hal Lindsey, Rick Warren, or Rob Bell, offer extended accounts that provide insight into the views of the future held by many people. In the case of Lindsey, detailed descriptions of future events are provided, along with the claim that forecasted events will occur within a generation. These views are summarized and compared to the secular idea of (...) a coming “intelligence explosion” or technological singularity as advanced by Ray Kurzweil, which is described in terms of its history as an idea and in terms of its specific proposals for the coming transformation of the cosmos, which is also predicted to occur within a generation. While profoundly different in important ways, these two perspectives share many features with each other—for example, in their respective predictions of distinct stages in the unfolding of the future of the cosmos. (shrink)

Taking Heidegger's prominent critique of Nietzsche's treatment of Kant's notion of 'aesthetic disinterestedness' as a foil this paper argues that, contrary to the dominant interpretation, Nietzsche's text contain a positive and radical notion of 'aesthetic disinterestedness'. It is argued that Nietzsche's naturalistic notion of aesthetic disinterestedness is a key feature of his conception of art as natural life process that contests the boundaries, values and libidinal constitution of the 'human'. The ramifications of this for Heidegger's reading of Nietzche's aesthetics are (...) considered. The paper reviews Nietzsche's critical treatment of the notion of 'aesthetic disinterestedness' in both "The Birth of Tragedy" and the "Genealogy of Morality" and relates these to his overall vision of the relationship between art and life. (shrink)

I argue that religion knows rapture and philosophy doesn't.

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article explores (...) how the music is deployed to resonate with the mythic and folkloric sensibility of the film narrative. We chose to use the tambuleleng, a native lute instrument/chordophone from Bukidnon, Southern Philippines, that is a modern adaptation of three traditional instruments. In its invention, its crafting, and in the sounds it produces, the tambuleleng is an artful blending of tradition and modernity. The tambuleleng’s composition, its symbolism and function in native life and rituals, aside from the sound it creates, all became material in conveying the folkloric narrative, and articulating the issues presented in the film. Some concerns on Philippine film musical scoring are also tackled, mainly focusing on the constraints, as well as the liberties involved when operating within a limited budget for an independent movie production. (shrink)

The first name mentioned in Rumi's1 masterpiece, the Masnavi is Plato: Love is the cure for our arrogance and wickedness; it is our Plato and Galen. Given that virtually all books written by medieval Muslims start with "in the name of God" and the praising of the Prophet Muhammad, Rumi's deviation from that tradition is in itself intriguing. Further, knowing Rumi's deep and unwavering devotion to Shams Tabrizi, why is he not mentioned before Plato, particularly in a book aiming at (...) educating future Sufi Sheikhs? Finally, Rumi showed extraordinary affection toward his favorite student Hosam alDin Chalabi, to whom the Masnavi is dedicated. Why is Hosam al-Din not mentioned... (shrink)

This chapter contains sections titled: “Solid Objects” and Its Interpretations Towards an Alternative Interpretation “Solid Objects” as a reductio ad absurdum of One Kind of Aesthetic Theory Rapture does not Suffice.

This chapter contains sections titled: “Solid Objects” and Its Interpretations Towards an Alternative Interpretation “Solid Objects” as a reductio ad absurdum of One Kind of Aesthetic Theory Rapture does not Suffice.

To avoid the mystical rapture that seizes interpreters put before the theme of unitas oppositorum in Cusanus and Leibniz, this contribution shall move from the prosaic question: what does ensue from such opposites or from their conjunction? 2) interweave the analysis with some external point of view, notably that of Erasmus. This question will be investigated on the background of two antitethical traditions in dealing philosophically with opposition and contradiction, although in the end we shall try and find out (...) other ways and reasons for connecting the two thinkers on the ground of the various possible unitates oppositorum, than those of the metaphysical doctrine of the opposites. (shrink)

When communal sharing relationships suddenly intensify, people experience an emotion that English speakers may label, depending on context, “moved,” “touched,” “heart-warming,” “nostalgia,” “patriotism,” or “rapture”. We call the emotion kama muta. Kama muta evokes adaptive motives to devote and commit to the CSRs that are fundamental to social life. It occurs in diverse contexts and appears to be pervasive across cultures and throughout history, while people experience it with reference to its cultural and contextual meanings. Cultures have evolved diverse (...) practices, institutions, roles, narratives, arts, and artifacts whose core function is to evoke kama muta. Kama muta mediates much of human sociality. (shrink)

The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming (...) -- What are the rules of this game? -- Playing, cheating, fragging, and griefing -- Videogames and narrative -- The stories games tell -- Would you kindly put down that wrench? -- Reconciling games and narratives -- Emotion in videogaming -- How can we be moved by the fate of Niko Bellic? -- My fear of mutants -- The role of the emotions in gaming -- The morality of videogames -- The problem with crime simulators -- Are games bad for you? -- On being offensive -- Sticking up for videogames -- Videogames as art -- Are videogames art? -- A cluster theory of art -- The art in videogames -- New art from old bottles. (shrink)

the present article intends to outline feuerbach's humanism in his the essence of christianity in dialogue with the nietzschean notion of the death of god. for it is with the death of god and the fall of all idols that it is possible to glimpse god, not as the absolute transcendent, but as a human creation, all too human. a projection of the self into a safe and magnanimous outside, anchorage of all human desires, from magical and miraculous powers to (...) the rapture of body and soul in a sanctifying and eternal peace. as god, man works the miracle of existing in the comforting fantasy of a supreme being, nothing more than himself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Reductio of the Nine Choirs of Angels:How Bonaventure Compressed Two Monumental Traditions into Nine Words and Nine Short PhrasesRandall B. Smith"There is probably no better illustration in medieval thought of how the genius of the symbolic imagination also involves deep speculative insight." So wrote Bernard McGinn of Bonaventure's Itinerarium mentis in deum in The Flowering of Mysticism: Men and Woman in the New Mysticism, 1200–1350.1 There is no (...) question that the Itinerarium is a book suffused with symbolic imagery; so much so, in fact, that it can sometimes seem to lapse into a confusing jumble.Certainly there are many sections of the Itinerarium that have baffled readers over the years, often because Bonaventure's use of imagery is so unique and creative and the truths he is attempting to enunciate are so far beyond our normal ways of thinking about God. But there is a short passage in chapter 4 of the Itinerarium that seems to defy interpretation precisely because of what one might describe as an almost austere terseness and brevity. The point Bonaventure wishes to make is one he communicates in little more than a list of nine words and nine short, parallel phrases.The passage I have in mind is this one in Itinerarium 4.4.When these things have been accomplished, and our spirit has been brought into conformity with the heavenly Jerusalem, it is ordered [End Page 583] hierarchically so that it can ascend upward. For no one enters into that city unless that city has first descended into the person's heart by means of grace, as John sees in his Apocalypse. It descends into the heart when our spirit has been made hierarchical by the reformation of the image, by means of the theological virtues, the enjoyment of the spiritual senses, and the ecstasy of rapture; for it has been purged, illumined and brought to perfection.In this way our spirit is adorned with nine orderly levels when within it the following are found in an appropriate order: announcing, dictating, leading, ordering, strengthening, commanding, receiving, revealing, and anointing. These correspond to the nine choirs of angels. The first three of the foregoing levels in the human mind relate to nature; the next three relate to work; and the final three relate to grace. When it has attained these, the soul, by entering into itself, enters into the heavenly Jerusalem where, as it considers the choirs of angels, it sees in them the God who dwells in them and who works in all their operations.Therefore, Bernard says to Pope Eugene that "God loves in the Seraphim as charity; knows in the Cherubim as truth; sits in the Thrones as justice; reigns in the Dominations as majesty; rules in the Principalities as a guiding principle; protects in the Powers as salvation; is at work in the Virtues as strength; reveals in the Archangels as light; assists in the Angels as kindness." From all this, God is seen as all in all when we contemplate God in our minds where God dwells through the gifts of the most generous charity.2Notice in the passage I have quoted above that Bonaventure says our spirit must be "brought into conformity with the heavenly Jerusalem," and that this requires it be "ordered hierarchically so that it can ascend upward." This serves as a transition into a rather odd pair of lists—one with nine words and the other with nine short, parallel phrases—that Bonaventure associates with the nine angelic choirs. These two lists of the nine choirs of angels do not, however, correspond exactly with one [End Page 584] another, for reasons I will explain below. And although these two lists of the nine ranks of angels in the angelic hierarchy take up just a few lines in Bonaventure's text, there is a lot of background information we will need to fill in to provide the necessary context to appreciate them. Indeed, as we will see, in this short passage, Bonaventure was able using the methods of the thirteenth-century sermo modernus style to reduce two monumental commentary traditions regarding the nine choirs of angels—one that... (shrink)

For philosophers familiar with the traditional interpretation of Simone de Beauvoir as a literary writer and philosophical follower of Jean-Paul Sartre, Beauvoir’s 1926-27 student diary is a revelation. Inviting an exploration of Beauvoir’s early philosophy foreclosed by the traditional interpretation, the student diary reveals Beauvoir’s early dedication to becoming a philosopher and her early formulation of philosophical problems and positions usually attributed to Sartre’s influence, such as the central problem of “the opposition of self and other,” years before she first (...) met Sartre in 1929.… Reading the student diary within a larger historical context, we discover that it reflects Beauvoir’s experience as one of the first generation of French women to gain full access to the academic world of philosophy, an experience that problematizes her identity as a woman. The diary shows Beauvoir struggling to accommodate herself to the male world of philosophy while striving to make philosophy her own. For Beauvoir this means following Henri Bergson in rejecting a philosophy that engages only the abstract intelligence. Defining her own unique literary philosophical methodology, Beauvoir vows to create a philosophy that is able, like literature, to encompass emotion as well as reason. This creative process begins in her diary where Beauvoir describes the concrete realities of her own lived experience. Searching for a sense of self in the “nothingness of everything human,” Beauvoir grapples with the existential problem of despair and the temptations of bad faith. Celebrating her newly found freedom and academic achievements, Beauvoir still struggles with the masochistic asceticism of her Catholic upbringing and longs for love, fearing a solitary future bereft of the comforts of woman’s traditional role. Beauvoir’s student diary thus allows us to trace the development of her early philosophy within the context of her life, while providing as well an intimate view of an academic world in transformation…. When the diary opens, with an entry dated August 6, 1926 Beauvoir is grappling with a central problem of her early life and philosophy, the conflicting moral obligations to self and others. Recounting a pilgrimage to Lourdes with an aunt, Beauvoir recalls feeling “ashamed” when faced with the physical suffering of the invalids: “[O]nly a life which was a complete gift of oneself, a total self-abnegation seemed possible to me.” But then, anticipating her critique of self-abnegation in The Second Sex, Beauvoir rejects it, describing the “absolute gift” as “moral suicide.” She vows, instead, to achieve an “equilibrium” between the duty to self and the duty to others. In the August 12, 1926 diary entry, Beauvoir frames the problem in metaphysical terms, referring to one part of herself “made to be given away,” and another “made to be kept and cultivated.” Later, in the November 5, 1926 entry, Beauvoir returns to the problem, writing that she split her “existence into two parts”: one part “for myself” and the other part “for others,” that is “the bonds that unite me with all beings.” Beauvoir’s 1926 description of existence “for myself” and “for others” lays the ground for her later philosophical work on the problem of the Other, as in her 1943 metaphysical novel, She Came to Stay, where the main female protagonist struggles to reclaim an existence for herself instead of existing solely for others, and in The Second Sex (1949) where Beauvoir argues that women are forced to assume themselves not as they exist for themselves but solely as they exist for men, thus as the absolute Other. During the course of the 1926 diary, Beauvoir’s efforts to reconcile these two “parts” of her existence are complicated by various influences, including her reading of Henri Bergson, the leading French philosopher of the early twentieth century. Beauvoir quotes at length in her 1926 diary from Bergson’s Essay on the immediate data of consciousness, which she describes, on August 16, as “a great intellectual rapture.” This diary entry may surprise those who remember the reference to Bergson in Beauvoir’s Memoirs: “I would not have been at all pleased if someone had prophesized that I would become a kind of Bergson; I didn’t want to speak with that abstract voice which, whenever I heard it, failed to move me” (MJFR 288). In this case as in so many others, Beauvoir’s diaries present a very different picture. In the August 16 diary entry, Beauvoir is critical of Bergson’s “impersonal” philosophical voice. But she lauds his methodological “appeal to intuition," which brings philosophy in contact with the « palpable reality » of life, as more characteristic of literature than philosophy. Beauvoir quotes Bergson’s celebration of the « bold novelist » able to tear aside « the cleverly woven web of our conventional self, » and reveal the « fundamental absurdity » of impressions underneath. « Nobody has better than he … defined the art of the modern novelist » Beauvoir writes, suggesting Bergson’s influence on Beauvoir’s developing literary philosophical method. Beauvoir writes, in the August 16 entry, that she is “thrilled” by Bergson’s “analysis of the two aspects of the self,” the authentic inner self and the external social self. For Bergson, unlike Beauvoir who is concerned with serving others as well as the self, our responsibility is wholly to the self and its freedom, which we discover only by breaking through the superficial “crust” of the social self. If his ethic of individual freedom complicated Beauvoir’s search for an ethical “equilibrium,” Bergson’s methodological turn to intuition and rejection of philosophy’s sole reliance on reason might have appealed to a young women trying to enter the male world of philosophy and make it her own…. (shrink)

'One of the greatest essays ever written on art.' - The Guardian Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful is one of the most important works of aesthetics ever written. Whilst many writers have taken up their pen to write of ‘the beautiful’, Burke’s subject here was that quality he uniquely distinguished as ‘the sublime’ – an all-consuming force beyond beauty that compelled terror as much as rapture in all who beheld (...) it. It was an analysis that would go on to inspire some of the leading thinkers of the Enlightenment, including Immanuel Kant and Denis Diderot. The Routledge Classics edition presents the authoritative text of the first critical edition of Burke’s essay ever published, including a substantial critical and historical commentary. (shrink)

I see art as the most efficient technological field for triggering human imagination. I am not alone in my conviction that human imagination has the potential to feed back to arts and science in creative and transforming ways, as does to every humanconceived technology. More than progress, breakthroughs depend on it. A virtually unlimited conceptual hybridization from dramatically distinct knowledge fields is markedly attainable in the present day through use of an art we experience as growingly immaterial and distributed. As (...) claimed by Roy Ascott (2006), the deep significance of this experience is only achieved when a sort of technological intermingling dissolves artwork and observer into a moistmedia that takes the form of a hybrid conscious body. Would the same be true for science? In addressing this question, a first step is to recognize that there is more to the scientific process of thinking and creative conception than mere cognition (as defined by neuroscience); it also parallels artistic processes. Importantly, both artists and scientists operate at levels of subjacent realities. What would be the implications to scientific practice if, instead of romantic, essentially subjective, speculative guesses, we prove scientifically that subjective processes potentiate science? The present article proclaims the centrality of this question as a transforming demand to contemporary neuroscience. Moreover, it reverberates Roy Ascott’s proposition of the brain as an access system – a ‘moistmedia informer’. In this article, hybrid artsci labs are proposed as systems that favour aesthetic rapture at different stages of scientific practices. A conceptualization of scientific objects – either material or immaterial – in contemporary art is central in this model. Artsci labs are essentially conceived as providing for interdigitating scientific, artistic and brain technological paradigms, and the effects on cognitive handling through directly controlled technical evaluation is presented. Results from my lab give support to Ascott’s proposition of an art development informed by the brain. Moreover, the hybrid multimodal character of the artwork returns to science as a gain in abstraction, favouring the idea of contemporary art as a speculum of knowledge resonances, while potentiating intuitive conceptual reframing and associative thinking usually detected as insights. (shrink)

Buddhist meditation practices presuppose that the abstract doctrines of Buddhist teachings can be transformed into individual experiences. In contrast to the assumption of a merely solipsistic phenomenology which focuses on first-person perspectives alone, we would like to propose a sociological extension of this perspective to a relational perspective that includes specific world- and selfreferences. With the empirical case of a long-time practitioner of Theravada Buddhism, we show how the primary focus on individual experiences may be misleading in terms of Buddhist (...) training and how shifts in the first-person perspective only occur through social friction. In this way, we are able to present empirical insights into how individual qualities of meaning become linked to social qualities of meaning, which then can be understood as a process of co-production of individual and social meaning. The empirical basis of this contribution is part of the research project 'Buddhism in the West'. The solution of the problem of life is seen in the vanishing of the problem. (Is not this the reason why those who have found after a long period of doubt that the meaning of life became clear to them have been unable to say what constituted that meaning?) -- Ludwig Wittgenstein (1974, Proposition 6.522) However it is, however it is he touches the arising-and-passing of aggregates: he gains rapture and joy: that, for those who know it, is deathless, the Deathless. --Dhammapada (373/374, Translation: Venerable Thanissaro). (shrink)

Steinman indicates that his ability to understand beauty is limited by his imagination. Beauty, as it has been traditionally defined, is an ultimate value, an ideal on same level as truth and goodness. Many of the ancient Greeks believed that symmetry represented order, and order was beautiful because it revealed a type of cosmic justice and truth that no person could deny. So, when Steinman's application of beauty comes into play, he is definitely emphasizing the order and justice that beauty (...) provides. The player of BioShock is introduced to a world quite familiar to ours, not necessarily in sense of Rapture, underwater cities, or vintage décor, but rather in the form of worldview. The vending machines are not coincidentally called Circus of Values. As players, one have value in surviving (intrinsic) so one will do whatever one can to survive, including buying or hacking vending machines with supplies (extrinsic value). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ovid, Art, and Eros PAUL BAROLSKY OVIDIO, AMORI, miti e altre storie or Ovid: Loves, Myths, and Other Stories is the copiously illustrated catalogue to the monumental exhibition mounted in 2008–2009 at the Scuderie del Quirinale, in Rome, in celebration of the great Roman poet and his world. This handsome tome is many books in one: a beautiful album of color plates illustrating a wide range of fascinating objects, (...) an overview of Ovid’s life, works and influences—a book for amateurs and specialists alike, a book to delight and instruct. The book includes paintings and sculpture but also pottery, coins, and jewelry. There is something for everybody here. Ovidio is divided into relatively brief sections written by numerous scholars who treat such topics as Ovid and myth, Ovid the love poet, Ovid in exile, Ovid and Augustan Rome, Ovid and the figurative arts, and Ovid in the seventeenth century. The book’s attention to illustrated editions of Metamorphoses, and especially the Ovide moralisé, is notable and refreshing. I think it fair to say that the exhibition and its catalogue are, not surprisingly, dominated by Metamorphoses and the ways in which artists illustrated its stories over the centuries. The myths of Venus and Adonis, Narcissus and Echo, Icarus and Daedalus, and Jupiter and Europa are among the numerous Ovidian stories that get extensive treatment here. We need to recall that no ancient author in the Hellenic tradition is so copiously illustrated as is Ovid—a fact that is Ovidio, amori, miti e altre storie, ed Francesca Ghedini et al. Rome 2018, 310 pages; isbn 9788856906486; €33.15. arion 27.2 fall 2019 easily taken for granted. A consummate story teller, Ovid inspired the pictorial tales of Poussin, Rubens, Rembrandt, and Velázquez, among other masters. Often in this book, works of mythological art are seen in the context of Ovid, even when there is no specific association between image and text. Such is the case when, for example, we encounter the well-known Praxitelean Aphrodite pudica in the Uffizi which inspired Botticelli’s similar Aphrodite now in the Musei Reali of Turin. There is nothing that links the statue and the painting to Ovid other than the fact that their makers, like the poet, write about the goddess of love. Ever so many mythological works suggest the arousal of desire. The Praxitelean Aphrodite modestly covers her body with both of her hands. Understandably, since according to an ancient tale, a young man was so aroused by the statue that he left a stain upon her. In short, we are in the realm of erotic art. The Hellenistic statue of Leda and the Swan in the archeology museum of Venice is an excellent example of erotic art featured in this book, even though Leda is mentioned only in passing in Metamorphoses. She seems to swoon in rapture as the bird (Jupiter in avian guise) slithers between her legs, beak seeking lips. Scarcely resisting, Leda reaches ambiguously downward as if in search of something, and we can well imagine what that might be. That her lower hand is invisible contributes to its suggestiveness. Leda’s upper hand is pressed against the swan’s sinuous neck, by no means a gesture of resist170 ovid, art, and eros Figure 1: Leda and the Swan. Venice, Museo Archeologico Nazionale, 2018. Eric Vandeville / akg-images. ance, I believe, even though in the myth she is taken by force. What we see is what the Ovid catalogue calls a “voluptuous amplexus.” The story of Leda and the Swan is forever told by painters in various erotic ways. When, later in the Renaissance, Correggio pictures the momentous event he shows the swan mounting Leda who, in this case, receives the bird in a seated position. As the bird engages the nymph, feathers pressed against her inner thigh, the swan, as in the ancient statue, seeks out her mouth with his beak—a juxtaposition as phallic as it is oral. The Leonardesque smile of Leda betokens not fear or violence but pleasure—a decidedly carnal pleasure. In a different context, Vasari wrote that Correggio painted not colors but flesh. When Leonardo himself pictured Leda, he delicately rendered the... (shrink)

The emergence of electronic computers in the last thirty years has given rise to many interesting questions. Many of these questions are technical, relating to a machine’s ability to perform complex operations in a variety of circumstances. While some of these questions are not without philosophical interest, the one question which above all others has stimulated philosophical interest is explicitly non-technical and it can be expressed crudely as follows: Can a machine be said to think and, if so, in what (...) sense? The issue has received much attention in the scholarly journals with articles and arguments appearing in great profusion, some resolutely answering this question in the affirmative, some, equally resolutely, answering this question in the negative, and others manifesting modified rapture. While the ramifications of the question are enormous I believe that the issue at the heart of the matter has gradually emerged from the forest of complications. (shrink)

The sense of wonder and admiration experienced by individuals who witness a striking sight, whether natural or man-made, has long been regarded as playing a role in the acquisition of knowledge. Both Aristotle and plato regarded wonder and admiration (θαύμα), sparked by something seen, as the origin of philosophical thinking. In the Middle Ages, theological writers considered the way in which admiration and, specifically, the state of rapture it engendered, helped the Christian experience devotion to God. What happened when (...) a beholder was filled with admiration upon encountering a magnificent building was addressed in discussions of magnificent patronage from at least the thirteenth century. The present Note investigates how Alberti’s reflections on magnificence and admiration informed his theory of aesthetic design in De re aedificatoria, completed in the 1450s. It proposes that Alberti redefined what makes a building admirable or ‘magnificent’ and also understood ‘beholding in admiration’ to be an active mode of looking. Therefore, his views on magnificent architecture were subtly different from those of Pope Nicolas V, in particular. By considering Alberti’s theory of aesthetic design as a reflection on magnificence and admiration, additional light is also shed on his confidence in the protective power of beauty and his design recommendations for the temple. (shrink)

In the massive plot twist at the end of BioShock Infinite, the writers beautifully put forth a hypothesis that individuals might exist in more than one possible world. In philosophy, the idea that an individual can exist in more than one world is called transworld identity. An important rival to transworld identity theory is counterpart theory, the idea that individuals cannot exist in more than one possible world and are therefore “world bound.” Modal realism is the thesis according to which (...) there is an infinite number of possible worlds that really exist in the most robust sense, relative to themselves. The world of Columbia is one possible world. The world of Rapture is another possible world. Both the actualist and the possibilist agree on these claims. Most important to the themes present in BioShock, transworld individuality has profound implications for differing notions of freedom. (shrink)

"Gadamer’s Repercussions is a terrific collection of essays. While Gadamer is not the most precise of philosophers, he turns out, in this book at least, to be among the most generative. The essays prove that Gadamer’s idealizing of dialogue can actually be put in practice by careful attention to the frameworks he addresses. I was most impressed by the essays that situate his ethics, his aesthetics, his relation to romanticism, his understanding of the relation of law and morality, his engagements (...) with Fascism, and several aspects of his vexed relationship with postmodern thinking, especially on the possibility of dialogue."—Charles Altieri, author of The Particulars of Rapture "Gadamer is well known for his insistence that every reading is a new reading and every act of understanding a pathway to new understanding. Krajewski’s carefully assembled volume applies these maxims to the understanding of Gadamer himself. By focusing on his intellectual and political background as well as his long-range influence and repercussions, the book opens new vistas for assessing one of the philosophical giants of the twentieth century."—Fred Dallmayr, author of Dialogue Among Civilizations. (shrink)

French rebels ate no cupid's earfor ribald amorous naughty complications enfeeblefist's robust ambitions, nurse corruption, enthrallfighter's reason and nudge coward's eros.First, rub a nose clean, engenderfriendly relations and name candidate earmarkedfor roses and nature's compliments: emptyflattery. Read a newspaper, count eminentfailures, rate all notorious collaborators enemies,find rapture at nocturnal clandestine election,foster rebellion, animate novice's campaign energies,frisk, ransack antiquated notions, claustrophobic elementaryfallacies, rattle a nation's complacent experience.Fly, rant at nominations, crass errors,flawed rotten apples, nepotism's classic entryfor rakish adventurers. Nine councillors (...) endfree rampage as neurotics clamor excitedlyfor religious absurdities, needling curious envy. (shrink)

Acclaimed cultural critic Curtis White examines current fissures in Western Buddhism and argues against the growth of scientific and corporate dharma, particularly in Stephen Batchelor's Secular Buddhist movement. In Transcendent, celebrated cultural critic Curtis White, asks what Buddhism will look like in the future. Do we want a secular Buddhism that looks like corporations and neuroscience? Or do we want a Buddhism that still provides refuge from the debased world of money and things? Transcendence is not about magic realms where (...) spirits fly about; the world is, as Shunryu Suzuki put it, its own magic. We only need to reclaim it and reclaim our humanity while we’re at it. The problem White suggests is a culture that recognizes only "things," capitalist things and science things, and aggressively denies the idea that the world of things has a beyond. We're told by science ideologues like the New Atheists that we live in a secular age and that philosophy is dead, and art is only an amusement, and transcendence is not wanted because science can provide all the wonder and beauty we need. Transcendent is a call for the re-enchantment not only of Buddhism but also of our Western art traditions. White recalls the risks and the raptures of the English Romantics, Beat poets, and the children of the counterculture, all in the name of a living world, and in defiance of our current world of climate catastrophe, contagious disease, and social collapse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rebirth of Cool:Toward a Science SublimeE. David Wong (bio)We love and hate "the cool." As educators, few things are more coveted than being recognized as teaching the "coolest" class in the school. We look forward to the rare moment when students gasp in awe or scream in amazement. However, in the quiet that returns after the last student rushes out the classroom door, we may feel an uneasy (...) ambivalence. Perhaps we admonish ourselves that serious science is substantial, enduring, and intellectual. We wonder whether our "cool" class was merely superficial, fleeting, and mindless.In this article I examine the cool—this idea we love and hate—and assert its importance in science education. I acknowledge that some experiences can be engaging but are superficial and unimportant—this is the "merely cool." By contrast, some experiences are deeply moving because we feel a growing capacity to perceive meaning and value in the world—this is the "sublimely cool." I draw from philosophy, literature, psychology, and aesthetics to build connections between cool and sublime experiences. By highlighting the surprisingly substantial connection between the cool and sublime, I hope to bring greater depth to the meaning of "cool," this imprecise, but honest, term. I also take care to define sublimely cool experiences in science as having a direct relationship with subject-matter understanding. It is true that the full meaning of aesthetic experiences extends beyond the grasp of words and conceptualization; however, it is equally true that knowledge and reason are central to all worthwhile experiences. The expansion of meaning and perception, not just intense sensation or emotion, is the heart of the sublimely cool experience. Nobel laureate physicist Richard Feynman provides a personal example of how his knowledge of science enhances his sublimely cool experience of Nature: "Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is 'mere.' I too can see the stars on a desert night, and feel them. But do I see less or more? The [End Page 67] vastness of the heavens stretches my imagination—stuck on this carousel my little eye can catch one-million-year-old light."1Cool as a Sign of Compelling Experience"Cool" is an intriguing expression for it is at once both crude and incisive. On the one hand, "cool" is a colloquial term used by people of all ages and backgrounds in many contexts to describe many things. So wide and informal is its use that "cool" may seem trite and banal. "Cool" is rarely chosen carefully when used: indeed, it is more often an unintentional, reflexive utterance.Thus, the more one thinks before speaking, the less likely "cool" will be used. Nonetheless, because it is an impulsive expression, "cool" may be all the more honest. Dewey made a similar point in his observation of the word "beauty": "Beauty... is properly an emotional term, though one denoting a characteristic emotion. In the presence of a landscape, a poem or a picture that lays hold of us with immediate poignancy, we are moved to murmur or to exclaim 'How beautiful.' The ejaculation is a just tribute to the capacity of the object to arouse admiration that approaches worship."2 With "just tribute" Dewey emphasizes the honesty of the term. By "admiration that approaches worship," Dewey reminds us that the spontaneous uttering of "beautiful" is a sign that a powerful experience has been had. I will make a similar argument that the term "cool"—although common and ordinary—can signal the having of a compelling experience. As a compelling experience, the cool becomes an important resource for teachers.Dewey goes on to describe how the meaning of "beauty" has, unfortunately, lost its value to aesthetic theoreticians: "Beauty is at the furthest remove from an analytic term, and hence from a conception that can figure in theory as a means of explanation or classification. Unfortunately, it has been hardened into a peculiar object; emotional rapture has been subjected to what philosophy calls hypostatization, and the concept of beauty as an essence of intuition has resulted. For purposes of theory, it then becomes an obstructive term."3Because of the way they are... (shrink)