An increasing sensitivity towards films and other forms of visual experience has become apparent in social theory. Recent explorations of new media of communication and entertainment have criticized the emphasis on the hegemonic or manipulative power of cultural industries and popular forms of leisure. Films, like many other discursive and visual forms, have been considered as signifying practices and investigated as processes of production, exhibition and reception. This article takes these recent contributions as its point of departure and investigates two (...) Brazilian films, made in the 1950s and 1990s, based on a play that retells the Greek legend of Orpheus in Brazilian social and cultural settings. This article considers the different historical contexts, explores discursive and visual forms of representation, struggles for power within the narratives, unconscious systems of signification, and makes some considerations about the aesthetic dimension present in each film. (shrink)

The present special issue of Disputatio brings together some of the best work recently done in Brazil and Portugal in the tradition of analytic philosophy (broadly conceived). Over the past ten years or so we have witnessed an impressive growth of analytic philosophy in both countries, either in terms of quantity or in terms of quality of the produced philosophy. We hope that this volume capture, at least partly, the dynamics and strength of such development. The range of philosophical problems (...) and topics covered by the contributed essays is vast, cutting across several philosophical disciplines. Indeed, one can find therein issues in philosophical logic, meta-philosophy, ethics, aesthetics, philosophy of science, philosophy of language, philosophy of mathematics and metaphysics. Such variety of subject-matter is also a trait of recent Luso-Brazilian analytic philosophy. (shrink)

As a result of a spate of studies geared to investigating Brazilian racial categories, it is now believed by many that Brazilians reason about race in a manner quite different to that of Americans. This paper will argue that this conclusion is premature, as the studies in question have not, in fact, investigated Brazilian categories. What they have done is elicit sorting tasks on the basis of appearances, but the cognitive models of respondents have not been investigated in (...) order to determine what are the boundaries of their concepts. Sorting based on appearances is not sufficient to infer the boundaries of concepts whenever appearance is not a defining criterion for the concepts in question, as the case appears to be for racial and ethnic categories. Following a critique of the methods used, I review a terminological and theoretical confusion concerning the use of the terms 'emic' and 'etic' in anthropology that appears directly responsible for the failure so far to choose methods appropriate to parsing the conceptual domain of 'race' in Brazil. (shrink)

In Brazilian schools, many teachers do not organize their teaching and students’ tasks and actions in a way that facilitates theoretical thinking based on the abstraction and generalization of the work content. Because many students struggle to accomplish the tasks and actions themselves, teachers guide them. Over time, the students begin to have more autonomy in executing the proposed activities, as they completed mental operations while learning. This article aims to investigate how young people’s and adults’ awareness of the (...) countryside is formed based on visual elements and writing, facilitating an understanding of their reality. A didactic–formative experiment was performed based on the cultural–historical theory. The comic books produced by the participants allowed them to develop their overall thinking, moving from the abstract to the concrete. They also formed an awareness of reality, which allowed them to have greater autonomy in the production of these stories as a means of representation and transformation of reality. (shrink)

In this article, I explore a short history of exchange between cybernetics and aesthetics in Brazil, beginning with the reception of Max Bense’s “new aesthetic” by concrete and neo-concrete poets and artists. I focus on his intellectual exchange with the poet and literary critic Haroldo de Campos, who promoted Bense’s information aesthetics in Brazil throughout the 1960s to tell a little-known history of cybernetic theory wedded to aesthetic practice, demonstrating the role that Brazilian critics, writers and artists played in (...) mediating and deviating from some of the major tenants of first-order cybernetics. Rather than embracing the total “entropy” of meaning that characterized Bense’s “generative aesthetics”, Brazilian poets and artists drew upon cybernetics and information theory to produce artistic works that engaged figuration, bodies, politics, spectatorship and participation. (shrink)

Brazilian writer Carolina Maria de Jesus (1914–1977) was born in a rural community and spent most of her life in a slum. Despite this, her literary work achieved remarkable editorial success, having its value recognized by critics and academic circles. This paper analyzes Carolina Maria de Jesus’s autobiographical narratives in the light of John Dewey’s aesthetic theory, with the purpose of investigating the factors responsible for the development of her aesthetic sensitivity – intellectual and emotional dispositions favorable to involvement (...) with artistic practices. The results suggest that Carolina Maria de Jesus’s literary skills, which express not only individual but also collective yearnings, resulted from the incentive she received to think about things that do not exist and from her relationship with people who favored the formation of a personality open to varied experiences. Such results are presented as requirements for a democratic and humanist education that aims at the flowering of aesthetic sensitivity and encourages educators and students to believe in their creative potential. (shrink)

This book features writing by 17 authors from Germany and from African and Latin American countries on highly diverse aesthetic phenomena as seen from their own different points of view. The texts in this volume all deal with the imperative of ‘decolonization’: they try to highlight aesthetic strategies for the (re)discovery of unthematized, misappropriated, transcultural and even transcontinental histories and memories and aesthetic practices that are absent from or too little perceived within national consciousnesses. Novels, poems and musical performances from (...) the East African region are analysed as intertwined histories of the Indian Ocean and its different languages. Artworks of the Black Atlantic and perceptions of Africa are discussed from, for example, Brazilian perspectives. Within the German context, decolonisation strategies in exhibition practices in ethnological or art museums developed by Nigerian artists are evaluated; new terms such as ‘dividuation’ are proposed to describe these contemporary composite-cultural entanglements, and so on. A stimulating, wide-ranging and heterogeneous portrait of contemporary interwoven world cultures! (shrink)

In Cameroon, a monumental "statue of liberty" is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage (...) with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl's photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans' Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising "morality" plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly "African" aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In Cameroon, a monumental “statue of liberty” is made from scrap metal. In Congo, a thriving popular music incorporates piercing screams and carnal dances. When these and other instantiations of the aesthetics of Africa and its diasporas are taken into account, how are ideas of beauty reconfigured? Scholars and artists take up that question in this invigorating, lavishly illustrated collection, which includes more than one hundred color images. Exploring sculpture, music, fiction, food, photography, fashion, and urban design, the contributors engage (...) with and depart from canonical aesthetic theories as they demonstrate that beauty cannot be understood apart from ugliness. Highlighting how ideas of beauty are manifest and how they mutate, travel, and combine across time and distance, continental and diasporic writers examine the work of a Senegalese sculptor inspired by Leni Riefenstahl’s photographs of Nuba warriors; a rich Afro-Brazilian aesthetic incorporating aspects of African, Jamaican, and American cultures; and African Americans’ Africanization of the Santería movement in the United States. They consider the fraught, intricate spaces of the urban landscape in postcolonial South Africa; the intense pleasures of eating on Réunion; and the shockingly graphic images on painted plywood boards advertising “morality” plays along the streets of Ghana. And they analyze the increasingly ritualized wedding feasts in Cameroon as well as the limits of an explicitly “African” aesthetics. Two short stories by the Mozambican writer Mia Couto gesture toward what beauty might be in the context of political failure and postcolonial disillusionment. Together the essays suggest that beauty is in some sense future-oriented and that taking beauty in Africa and its diasporas seriously is a way of rekindling hope. Contributors. Rita Barnard, Kamari Maxine Clarke, Mia Couto, Mark Gevisser, Simon Gikandi, Michelle Gilbert, Isabel Hofmeyr, William Kentridge, Dominique Malaquais, Achille Mbembe, Cheryl-Ann Michael, Celestin Monga, Sarah Nuttall, Patricia Pinho, Rodney Place, Els van der Plas, Pippa Stein, Françoise Vergès. (shrink)

In "Aesthetic Histories" our contributors’ shared concern is the inspiring and confounding, healthy and uncomfortable and above all inevitable relationship between history and aesthetic praxis.

EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS.

This issue is dedicated to thinking about art and current aesthetic perspectives through Hegelianism.

Our contributors explore a rich variety of aesthetic problems that bring about the self-reflexive re-evaluation of ideas.

Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, which took (...) place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

In this special issue on animals and aesthetics, contributors explore encounters with animals in art and thought.

This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the world (...) in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

A hijacking is a violent takeover, a misappropriation of something for a purpose other than its intended one, by parties other than those for whom the thing was meant. This issue explores the aesthetic practices and consequences of unauthorized repurposing.

In her book, Vibrant Matter, Jane Bennett thinks through what ontological, political, and ecological questions would look like if humans could admit that matter and nonhuman things are living, creative agents; the contributors to this issue of Evental Aesthetics begin to think through what aesthetic questions would look like.

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

This issue profiles various attempts, both successful and fraught, to engage the divide between asceticism and opulence, between materialism and poverty.

This volume presents the proceedings from the Eleventh Brazilian Logic Conference on Mathematical Logic held by the Brazilian Logic Society in Salvador, Bahia, Brazil. The conference and the volume are dedicated to the memory of professor Mario Tourasse Teixeira, an educator and researcher who contributed to the formation of several generations of Brazilian logicians. Contributions were made from leading Brazilian logicians and their Latin-American and European colleagues. All papers were selected by a careful refereeing processs and (...) were revised and updated by their authors for publication in this volume. There are three sections: Advances in Logic, Advances in Theoretical Computer Science, and Advances in Philosophical Logic. Well-known specialists present original research on several aspects of model theory, proof theory, algebraic logic, category theory, connections between logic and computer science, and topics of philosophical logic of current interest. Topics interweave proof-theoretical, semantical, foundational, and philosophical aspects with algorithmic and algebraic views, offering lively high-level research results. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Ao ser lançado em 1978, A brasilidade modernista - sua dimensão filosófica ganhou notoriedade pelo ineditismo da abordagem do movimento modernista. Esta nova edição, amplamente revista pelo autor, mantém a organização e as teses do livro, mas a forma da exposição foi simplificada e aperfeiçoada. Por isso mesmo, fica realçada a ruptura de Eduardo Jardim com as teses inocentes que, ainda nos anos setenta, viam a Semana de 1922 como o ato fundador do Brasil moderno. O propósito de abordar filosoficamente (...) o modernismo permanece e possibilita lançar luz sobre uma ampla gama de temas relativos ao nosso principal movimento de renovação cultural. Um deles é o da sua inserção em um debate de ideias que remonta às últimas décadas do século XIX. Graça Aranha aparece como a figura mediadora dessa inserção. A periodização do modernismo em duas fases - o primeiro tempo, de preocupações estéticas, e o segundo, tratando da brasilidade - ganhou visibilidade nesta nova edição. Na discussão da brasilidade foram considerados os pontos em comum entre as várias correntes do movimento, a partir de 1924. No entanto, duas posições aparecem contrastadas: a analítica, defendida por Mário de Andrade, e a intuitiva, que reúne Plínio Salgado e Oswald de Andrade. A vertente analítica propôs fazer o levantamento dos traços propriamente nacionais da cultura brasileira depositados nas manifestações de cultura popular. A intuitiva pretendeu apreender o caráter nacional de forma imediata, pelos sentimentos. (shrink)

Ao ser lançado em 1978, A brasilidade modernista - sua dimensão filosófica ganhou notoriedade pelo ineditismo da abordagem do movimento modernista. Esta nova edição, amplamente revista pelo autor, mantém a organização e as teses do livro, mas a forma da exposição foi simplificada e aperfeiçoada. Por isso mesmo, fica realçada a ruptura de Eduardo Jardim com as teses inocentes que, ainda nos anos setenta, viam a Semana de 1922 como o ato fundador do Brasil moderno. O propósito de abordar filosoficamente (...) o modernismo permanece e possibilita lançar luz sobre uma ampla gama de temas relativos ao nosso principal movimento de renovação cultural. Um deles é o da sua inserção em um debate de ideias que remonta às últimas décadas do século XIX. Graça Aranha aparece como a figura mediadora dessa inserção. A periodização do modernismo em duas fases - o primeiro tempo, de preocupações estéticas, e o segundo, tratando da brasilidade - ganhou visibilidade nesta nova edição. Na discussão da brasilidade foram considerados os pontos em comum entre as várias correntes do movimento, a partir de 1924. No entanto, duas posições aparecem contrastadas: a analítica, defendida por Mário de Andrade, e a intuitiva, que reúne Plínio Salgado e Oswald de Andrade. A vertente analítica propôs fazer o levantamento dos traços propriamente nacionais da cultura brasileira depositados nas manifestações de cultura popular. A intuitiva pretendeu apreender o caráter nacional de forma imediata, pelos sentimentos. (shrink)

This book is the outcome of the Workshop Ciências Humanas, held in the city of São Pedro (SP), by thePROPe (Pró-Reitoria de Pesquisa da Universidade Estadual Paulista "Júlio de Mesquita Filho" - Unesp), with the aim of comprising ebooks for the collection "Desafios Contemporâneos". On this occasion, a team of teachers and representatives of research groups, formed by academics Evandro Fiorin, José Marcos Romão da Silva, Maria Antônia Benutti, Paula da Cruz Landim, Paulo Roberto Masseran, Rosa Maria Araújo Simões and (...) Rosangela da Silva Leote (of several university units and different courses), discussed the ideas of its formulation according to the following "Art, science and creative processes; philosophy in Brazil: incorporation or creation. (shrink)

Origens : Alex Atala, Fernando e Humberto Campana -- Presente : Fernando e Humberto Campana e Jum Nakao -- Intermezzo : convívio : Jam Nakao e colaboradores -- Destinos : Alex Atala e Jum Nakao -- Entrevistas -- Um pouco de história.