It is about analyzing the connection between just memory, narration and art, using an approach that mixes philosophy and visual arts. We will start from the perspective of the French philosopher Paul Ricoeur on fair memory, presented in his work Memory, History, Oblivion (2000), according to which there is an institutionalized ideologization of memory in which narrations are silenced or distorted by the so-called official history. In the process of recovering fair memory, these narratives need to be heard, recognized and (...) valued, deconstructing abusive mechanisms that silence them with the aim of producing oblivion or that manipulate them involve distorting the facts to benefit hegemonic discourses. Next, we will discuss how the myth of Brazilian racial democracy is an example of institutionalized ideologization of memory, considering mainly the reflections of Brazilian philosophy Sueli Carneiro in Device of raciality (2023). Finally, we will show how Elian Almeida's pictorial counter-narratives, especially the Vogue series (2020), work to strengthen and disseminate unofficial narratives about Brazil that have been suffocated by official history. (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)

This essay argues that martial arts, especially Brazilian jiu-jitsu (BJJ), mediate the divine attributes of beauty, goodness, and truth just as much as the fine arts. Some may question the compatibility of martial arts with Christianity. Yet, according to the just war doctrine, fighting is permissible when defending oneself and others. Furthermore, instead of doing nothing about evil or injustice (pacifism) and escalating to violent killing, jiu-jitsu as a distinctive martial arts presents the creative alternative of nonviolence. The essay (...) considers various ways in which martial arts point to God through the analogy of being and the Tao. Jiu-jitsu resonates with Christian notions of perichoresis, self-awareness, rightness, flow, mystery, theosis, and epektasis. BJJ is beautiful in how it inspires existential wonder at the unique and particular gifts of the other. It searches for truth pragmatically and ethically, in a quest for combat effectiveness and social sustainability. Jiu-jitsu is good as it fosters inclusivity, respect, selflessness, and philanthropy. (shrink)

In "Off Track" art and philosophy are the inspiration to look differently at daily life and organizations. The book is a plea to approach the complexity of the current world with new metaphors. The author calls this "hinking around". She sees that in "square worlds" there is a need for tools to approach entrenched patterns and systems differently and to get thought processes moving. Sarai van de Boel challenges the reader to look at one's own systems from the inside with (...) a philosophical approach. In eight chapters there are eight "tracks" to follow, but it is also possible to go off the rails. More than fifty works of art by well-known and lesser-known artists and designers play a role in these traces. The author questions the essence of their works and asks philosophical questions about phenomena they evoke. With Marlene Dumas, Marinus Boezem, L.A. Raeven, Ed Atkins, Wong Ping, Kazumasa Nagai, Remy Jungerman, Otto Piene, Eiko Ishioka, Campana brothers, Ann Demeulemeester and Kara Walker. The book ends with the Art & Philosophy Strategy, a theoretical framework for the use of art and philosophy. (shrink)

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

Art, Research, Philosophy explores the emergent field of artistic research: art produced as a contribution to knowledge. As a new subject, it raises several questions: What is art-as-research? Don't the requirements of research amount to an imposition on the artistic process that dilutes the power of art? How can something subjective become objective? What is the relationship between art and writing? Doesn't description always miss the particularity of the artwork? This is the first book-length study to show how ideas in (...) philosophy can be applied to artistic research to answer its questions and to make proposals for its future. Clive Cazeaux argues that artistic research is an exciting development in the historical debate between aesthetics and the theory of knowledge. The book draws upon Kant, phenomenology and critical theory to show how the immediacies of art and experience are enmeshed in the structures that create knowledge. The power of art to act on these structures is illustrated through a series of studies that look closely at a number of contemporary artworks. This book will be ideal for postgraduate students and scholars of the visual and creative arts, aesthetics and art theory. (shrink)

Olexandr Lukovyna’s interview with Professor Plínio Junqueira Smith is devoted to skeptic research in Brazilian philosophy, the beginning of skeptic studies in Brazil, Oswaldo Porchat’s and Ezequiel de Olaso’s roles in establishing the tradition of skeptic studies, contemporary studies in skepticism, and the global state of affairs in skeptic research.

In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies (...) and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves. (shrink)

This collection brings together an internationally known and interdisciplinary group of scholars, including a major new essay by Laruelle himself. Together they use non-philosophy to cross the boundaries between philosophy and performance.

Le;opold Se;dar Senghor (1906–2001) was a Senegalese poet and philosopher who in 1960 also became the first president of the Republic of Senegal. In African Art as Philosophy , Souleymane Bachir Diagne takes a unique approach to reading Senghor’s influential works, taking as the starting point for his analysis Henri Bergson’s idea that in order to understand philosophers one must find the initial intuition from which every aspect of their work develops. In the case of Senghor, Diagne argues that his (...) primordial intuition is that African art is a philosophy. _ To further this point, Diagne looks at what Senghor called the “1889 Revolution,” and the influential writers and publications of that time—specifically, Nietzsche and Rimbaud, as well as Bergson’s Essay on the Immediate Data of Consciousness. The 1889 Revolution, Senghor claims, is what led him to the understanding of the “Vitalism” at the core of African religions and beliefs that found expression in the arts. _ This book offers a distinct, incisive look at an important figure in African literature and politics that will be welcomed by scholars in African Studies and philosophy. (shrink)

The problem of the relationship between art and philosophy is deeply rooted in the philosophical tradition. When Plato excluded artists from the philosophers’ mythical republic, he seemed to be assuming a strict opposition between art and philosophy. Artists do not know what they are saying. Because their creation is grounded in the madness of inspiration, they would be unable to give accounts for their doctrines even if doctrines could be gleaned from their works. Philosophers, on the other hand, must be (...) able to provide such accounts. They commit themselves to providing reasons for their conclusions. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

Ever since the time of Hegel, there has been a growing philosophization of art in which artists increasingly make works where visual/formal concerns are supplanted by philosophical questions concerning the definition of art itself. At the same time, however, an equally vociferous defence of art against its subsumption by philosophy has been made by theorists such as Nietzsche, Sontag and Barthes who have sought to rescue the sensuous immediacy of art from the abstractness of philosophical thought by advocating a more (...) spontaneous and less rationalistic response to works of art. While it may seem paradoxical that two such diametrically opposing conceptualizations of the relation between art and philosophy should coexist, it is argued that they are in fact two sides of the one coin and reflect the fundamentally contradictory nature of the project of art in modernity. Furthermore, both conceptualizations are one-sided insofar as they fail to grasp the essentially antinomous nature of the relationship between the two in which art is inescapably dependent upon philosophy at the same time as it is irreducible to it. (shrink)

From his earliest writings as a student in the Evangelical Stift in Tübingen to the last years of his life as a professor in Berlin, art played a major role in Hegel’s various philosophical formulations. It is important to note, however, that although Hegel remained convinced of the general importance of art for his own philosophical endeavors, the particular details of his interpretation of its significance changed quite markedly over the years as he developed his own unique philosophical position and (...) as his firsthand experience of works of art increased. In this paper I will concentrate on some of Hegel’s earliest efforts toward developing his own philosophical system, and will show how this development is reflected in a fundamental transformation of his interpretation of the significance of art. More specifically, I will establish in what follows that one major consequence of Hegel’s evolving systematic philosophy is an “impoverishment” of the artistic in the sense that art comes to lose a certain fertility which it had had in his earlier views. This impoverishment is in effect the price exacted if art is to assume a place within Hegel’s system, precisely because the role and significance of art now come to be defined by and expressed in terms of its place in that system. Although this paper will be concerned with only the first stages in a process of development which continues all the way up to his Berlin lectures on beautiful art, it will nonetheless become apparent that Hegel’s early understanding of art has to have been radically altered for such a development even to begin. (shrink)

In an age of internet scrolling and skimming, where concentration and attention are fast becoming endangered skills, it is timely to think about the act of reading and the many forms that it can take. Slow Philosophy: Reading Against the Institution makes the case for thinking about reading in philosophical terms. Boulous Walker argues that philosophy involves the patient work of thought; in this it resembles the work of art, which invites and implores us to take our time and to (...) engage with the world. At its best, philosophy teaches us to read slowly; in fact, philosophy is the art of reading slowly – and this inevitably clashes with many of our current institutional practices and demands. Slow reading shares something in common with contemporary social movements, such as that devoted to slow food; it offers us ways to engage the complexity of the world. With the help of writers as diverse as Nietzsche, Wittgenstein, Woolf, Adorno, Levinas, Critchley, Beauvoir, Le Dœuff, Irigaray, Cixous, Weil, and others, Boulous Walker offers a foundational text in the emerging field of slow philosophy, one that explores the importance of unhurried time in establishing our institutional encounters with complex and demanding works. (shrink)

Building on the work of Husserl, Heidegger, Nietzsche, Arendt, and other practitioners of the life of theory, Sloterdijk launches a posthumanist defense of philosophical inquiry and its everyday, therapeutic value.

My thesis addresses a puzzle concerning Hegel's notion of the value of beauty. On the one hand, the contemplation of beauty, in particular artistic beauty, has the same status for Hegel as philosophical knowledge, since through both, we come to grasp the absolute truth: the unity of spirit and nature, or of the human individual and the world it lives in. On the other hand, Hegel thinks that the aesthetic unity of spirit and nature is in some way deficient, when (...) compared to the unity we come to grasp through philosophical knowledge. Thus Hegel claims that philosophy and art have the same content, while philosophy is higher than art. I suggest that this puzzle can be dissolved if we consider that beautiful art, for Hegel, is associated with a form of life, in which the aesthetic unity of spirit and nature becomes social and political reality: the ancient Greek polis. Since the social and political structure of the polis inevitably leads to tragic collisions, Hegel concludes that the value of beauty provides no ground for establishing an ultimate unity of the human individual and the world it lives in. In Hegel's view, it is only philosophical reflection, and the social and political institutions which emerge from such reflection, which can provide an adequate ground for ultimate reconciliation. Nevertheless, I argue, the contemplation of beauty remains a perfectly adequate way of grasping, if not establishing, this unity. Hence according to the interpretation I propose, philosophy is higher than art in a twofold sense for Hegel. On the one hand, it serves a critical function with respect to the value of beauty: it points out the limits of beauty, in particular the fact that beauty is incapable of making the unity of spirit and nature concrete and real, by turning it into social and political reality. On the other hand, philosophy redeems the promise which is left unfulfilled by beauty: to establish an ultimate unity of spirit and nature, of human individual and the world it lives in. (shrink)

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience (the reciprocal glance between who regards and what is regarded) and on a phenomenological interpretation of significance. (...) In other words, this phenomenological interpretation gives a positive content to the concept of post-modern art. (shrink)

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

What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, _What Art Is _challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: (...) interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in _The Republic_, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production. (shrink)

The identification of a post-modern art requires the determination of its implicit patterns of signification, as is the case with the modern art’s patterns of signification. In fact, the mere formal and stylistic analyses are not able to distinguish the post-modern art from the modern art. Actually, the specificity of minimalist and post-minimalist sculpture is founded on a phenomenological interpretation of subjective aesthetic experience and on a phenomenological interpretation of significance. In other words, this phenomenological interpretation gives a positive content (...) to the concept of post-modern art. (shrink)

Martial arts and philosophy have always gone hand in hand, as well as fist in throat. Philosophical argument is closely paralleled with hand-to-hand combat. And all of today’s Asian martial arts were developed to embody and apply philosophical ideas. In his interview with Bodidharma, Graham Priest brings out aspects of Buddhist philosophy behind Shaolin Kung-Fu — how fighting monks are seeking Buddhahood, not brawls. But as Scott Farrell’s chapter reveals, Eastern martial arts have no monopoly on philosophical traditions: Western chivalry (...) is an education in and living revival of Aristotelian ethical theories. Several chapters look at ethical problems raised by the fighting arts. How can the sweaty and brutal be exquisitely beautiful? Every chapter is easily understandable by readers new to martial arts or new to philosophy. (shrink)

Information: 2d ed. Includes bibliographies.

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

Can art, religion, or philosophy afford ineffable insights? If so, what are they? The idea of ineffability has puzzled philosophers from Laozi to Wittgenstein. In Ineffability and its Metaphysics: The Unspeakable in Art, Religion and Philosophy, Silvia Jonas examines different ways of thinking about what ineffable insights might involve metaphysically, and shows which of these are in fact incoherent. Jonas discusses the concepts of ineffable properties and objects, ineffable propositions, ineffable content, and ineffable knowledge, examining the metaphysical pitfalls involved in (...) these concepts. Ultimately, she defends the idea that ineffable insights as found in aesthetic, religious, and philosophical contexts are best understood in terms of self-acquaintance, a particular kind of non-propositional knowledge. Ineffability as a philosophical topic is as old as the history of philosophy itself, but contributions to the exploration of ineffability have been sparse. The theory developed by Jonas makes the concept tangible and usable in many different philosophical contexts. (shrink)