Painting, seeing, concepts -- Gone, missing -- Arshile's heel, Gorky's line -- You are here and not here: the concept of conceptual art -- Moving pictures & memory -- The doubling of death in the films of Michael Haneke -- Yep, Gaston's gay: Disney and the beauty of a beastly love -- And say the zombie responded -- Other animal others -- The man who mistook his meal for a hot dog -- Rachel Rosenthal was an animal -- Laughing beyond (...) modernity -- It's just a bunch of stuff that happened -- Quantum Andy. (shrink)

Is 'n transendentale kritiek religieus bepaald? deur V. Brümmer. -- Constitution and creativity in the philosophy of Edmund Husserl, by A. L. Conradie. -- Studium Generale, deur H. J. De Vleeschauwer. -- Sociology of law and its philosophical foundtions, by H. Dooyeweerd. -- Beginvrae en antwoorde in der Wysbegeerte, deur P. G. W. Du Plesis. -- Max Scheler's concern with the highest perfection, by S. I. M. Du Plessis. -- Christelike wetenskap, highest perfection, by S. I. M. Deu Plessis. -- (...) Christelike wetenskap, deur B. Duvenage. -- Malan's critical study, by H. Hart. -- Raakpunte vir 'n dialoog met 'n Christelike Wysbegeerte, deur A. M. T. Meyer. -- Nuwe gedagtes oor die begrip Natuurwet, deur A. H. Murray. -- Die voorwaardes vir die uitbou van 'n wysgerige antropologie, deur C. K. Oberholzer. -- De structuur van feit-en-betekenis, deur K. J. Popma. -- The relation of the arts to the presentation of the truth, by C. G. Seerveld. -- Gezag en vrijheid in het licht van Gods Woord, deur J. Stellingwerff. -- Voorveronderstellings vir 'n filosogie van die opvoeding, deur J. A. L. Taljaard. -- Objektiwiteit, sekularisasie en geskiedenis, deur N. T. Van der Merwe. -- Etiek: wetenskap van relasies, deur S. P. Van der Walt. -- Wetten en feiten, deur C. A. Van Peursen. -- Enige opmerkingen over entiteiten, deur H. Van Riessen. -- Richard Kroner on Herman Dooyeweerd, by C. Van Til. -- De mens in de taalkunde, deur P. A. Verburg, -- Enkele motieven van het anti-militair pacifisme, deur S, U. Zuidema. -- Publications of prof. dr. H. G. Stoker. Publikasies van prof. dr. H. G. Stoker (p. 303-311). (shrink)

PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data saturation was (...) reached after 16 interviews.ResultsMost interviewees were still engaged in regular, predominantly informal, mindfulness practice, although some discontinued mindfulness practice and reported an “unchanged lifestyle.” Three main themes came forward; “focused attention and open awareness” during daily activities as core elements of long-term mindfulness practice; “changes in behavior and coping” that resulted from taking a pause, reflecting, recognizing automatic behavioral patterns and making space for a conscious response; “integration in personal and professional life” by enhanced enjoyment of daily activities, improved work-life-balance and making different career choices. Barriers and facilitators in starting and maintaining mindfulness practice were understanding and intention as “pre-conditions”; practical, personal, and professional factors of students in maintaining practice.ConclusionTwo years after participation in a MBSR training, many interviewees were still engaged in mindfulness practice contributing to both personal and professional changes. In light of the high clerkship demands, MBSR training could be a valuable addition to medical curricula, supporting medical students in developing necessary competencies to become well-balanced professionals. (shrink)

Art, Ancient; art, modern; ethical and philosophical aspects; comparative study.

From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...) invention of the public -- The boulevards of the inner city -- Park fiction : desire, resistance, and complicity -- A culture of needles : project row houses in Houston. (shrink)

كل ما أعنيه في مؤلفي، هو التعبير عن وجهات نظر تجاه آراء، طرحها بعض الفلاسفة والمفكرين والمنظرين والمبدعين الذين تناولوا جانباً حساساً في ما يتعلق بدور الوعي الفـني والجمالي في عملية إستلهام الحقائق الجمالية، والإفصاح عنها بواسطة الفن، والكشف عن البِنى القاعدية والتاريخية والمعرفية والفنية والتراثية والروحية والفكرية والجمالية.. سواء في تطابق وجهات النظر، أم دحض وتفنيد الأفكار التي رأت الفن والجمال في الوجود رؤية ســـطحية، وتوضيح الآراء المتباينة وتعددية المناهج المختلفة، التي حددت وظيفة الفن في بنائية الحياة. ويجدر الانتباه (...) إلى أن ما أعنيه من جمالي الفن، يشمل كافة الإشراقات الإبداعية العظيمة (أسطورية، أدبية، طقسية، تصوير، رسوم، لغة كتابية، عقائد دينية، أيديولوجية، دراما، نحت، عمارة، موسيقا، إعلام، رياضة، تكنولوجيا..إلخ) في حياتنا الأناسية. فوددت أن أستعرض بلمحة موجزة بدايات نشوء الفن كمقدمة منطقية، تفرضها ضرورات البحث، وذلك لما للفن من أثـر عميق في نشوء الحضارة والتاريخ، ولما له من قدرة نفاذية إلى الأثر الإلهي المتماهي في كينونة الوجود، ومبيناً أيضاً دور الدين في إبراز جلال الفن عـبر التاريخ، والإفصاح عن الإشكالية التي تتعلق به، بوصفه وعياً جمالياً ما وراء الواقع العياني. (shrink)

In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental (...) practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. (shrink)

Merleau-Ponty, in Humanism and Terror, addresses the spectrum of problems related to revolutionary action. His essay, Eye and Mind, is best known as a contribution to aesthetics. A common structure exists in these apparently disparate works. We must reject the illusion of subjective clairvoyance as a standard of revolutionary praxis; but also we must reject any idealised light of reason that illuminates all—that promises a history without shadows. The revolutionary nature of an act must be established as such through praxis. (...) The creative praxes of the political revolutionary or the revolutionary artist are recognised ex post facto; yet each involves the creation of its own new aesthetic wherein the value of that praxis is to be understood spontaneously and all at once. (shrink)

The ethics of care, developed in early 1980s within feminism as a critique on the biases of neokantian ethics, is 40 years old. This book presents its key insights, the developments and debates over the years and the challenges care ethics faces. Internationally renown scholars from various continents have contributed, a clear sign that care ethics has spread over the globe. The key insights regard issues close by, care from person to person, but also at an institutional level and questions (...) of global impact. Vulnerability and relationality are examples of these insights. What can caring practices, ranging from social welfare to palliative care, learn from care ethics? Has care ethics had an impact on ethics at large and what is its future? (shrink)

A model for the ideal state includes discussions of the nature and application of justice, the role of the philosopher in society, the goals of education, and the effects of art upon character.

Many scholars believe that traditional courses in ethics (especially business ethics) have not been successful in making students ethical. The best that educators can hope is that these courses will help build ethical awareness. It is thus apparent that the apparatus used to teach ethics does not inspire the intellectual leap needed between the abstract awareness of ethical issues to the functional changes in behavior and decision-making. This paper posits that the creative arts, including literature, poetry, music, pictorial art, (...) and film, may provide the tools to help bridge that gap. The creative arts can profoundly impact individuals and cause social change by gradually implanting values and changing beliefs. They can instill morals by using stories, sounds, and images and arouse the passion needed to change behaviors. (shrink)

In the last decade, we have observed a continuous increase of interest in eye movement research. According to a recent investigation, eye movements are discussed in over one million publications. The number of publications with eye movement in the title or abstract has been steadily increasing over the years, with over 1,200 papers published alone in 2013. The last decade has also witnessed the emergence of many new sub-disciplines in the field of neuroscience and cognition - one of them is (...) neuroaesthetics, which refers to the [neuro-]science of aesthetic perception of art.The title and contents of our book have been inspired by a very influential research article. It is one of the most cited scientific papers of all time, published in 1959 by a team of neurophysiologists and engineers, Lettvin, McCulloch and Pitts who are considered to be the founders of modern cybernetics. Their article, "What the Frog's Eye Tells the Frog's Brain," refers to the role of internal cortical models in the communication or interfacing of the information in the outside world with the practical contextual task of the viewer. It shows how eye movements are the modality of this communication. The same duality between eye movements and internal models plays a fundamental role in humans. When we look, for example, at art, it explains those neurological processes involved in neuroaesthetics. Our book undertakes this innovative approach to neuroaesthetics. It explains this duality and discusses the communication between the artist and the viewer's aesthetic perception. It is structured into five chapters.Chapter One discusses the neurology of aesthetics, the idea of art as a form of communication, and explains perception as an active matching between a "top" (the viewer's mind) and a "down" (the viewer's sensorial machinery). It goes deep into the philosophical quandary of what beauty is in terms of art. Chapter Two is about eye movements and the scanpath theory of vision perception. It discusses the role of visual attention for controlling active vision, the meaning of mental binding and the analysis of eye movements as the key to understanding aesthetic processes. Chapter Three introduces Claude Shannon's information theory using it as a matrix into which to embed the top down active vision scanpath theory. The authors explain the main concept of neuroaesthetics as a form of communication mediated by the sequence of eye fixations. Chapter Four discusses art critique: The role of the viewer's training and expectation, the dilemma of the aesthetics of art versus non-art and how all of this affects the viewing mode. Finally, Chapter Five treats the intimacy of the artistic process, showing the unique implementation of the communicative experience between the artist and the viewer - the relation between a pictorial representation defined by the artist and modes of AWE generated in the viewer during active looking. (shrink)

Juan B. Justo en la historia y el pensamiento argentinos, por A. Solari.--Teoría y práctica de la historia, por M. H. Alberti.--La base biológica de la historia, por F. Escardó.--La técnica, por A. Justo.--La economía, por R. Bogliolo.--La guerra, por A. G. Rodríguez.--La política, por A. Ghioldi.--La lucha de ciases, por R. Mondolfo.--El salariado, por M. Palacín.--Las formas típicas del privilegio, por J. L. Pena.--El gremialismo proletario, por E. Frugoni.--La cooperación libre, por N. Repetto.--La democracia obrera, por L. Pan.--La religión, (...) la cilencia, el arte, por R. Rivière. (shrink)

Ook al staan de beelden van Confucius, Lao Zi en Boeddha in sommige Chinese tempels weer broederlijk bijeen op het altaar, hun verschillende wegen tot zelfcultivering worden zelden in onderlinge samenhang beschreven. Dit boek benadert confucianisme, daoïsme en het Chinese boeddhisme in zijn vroege ontwikkeling vanuit hun visie op de praktijk van de zelfcultivering. Hoewel ze een volstrekt ander doel hebben dan de westerse zelfverwerkelijking, mogen de Chinese wegen zich in onze contreien toch in een grote populariteit verheugen. Omdat de (...) zelfcultivering in China primair gericht is op de emoties, vormt de emotiecultivering de rode draad in dit boek. Het begrip Qi, levenskracht, speelt een grote rol in alle cultiveringspraktijken en staat centraal in het klassieke Chinese denken. Het eerste hoofdstuk biedt een inleiding in dit begrip, waardoor de lezer een overzicht krijgt van een aantal Chinese kernconcepten en theorieën en daarmee ook van de context van de emotiecultivering. Naast de beschrijving daarvan in confucianisme, daoïsme en boeddhisme biedt het boek verder een beschouwing van de Chinese landschapsschilderkunst als "filosoferen met het penseel". Het slothoofdstuk vat de verschillende cultiveringspraktijken samen en presenteert ze onder de noemer van Wegen naar het Midden. (shrink)

Excerpt from Right Living: Lessons in Ethics for Schools Human experience has shown the value of right living, also, the disaster that follows wrong living. It has been clearly demonstrated, again and again, that the basis of symmetrical life is character, first, last, and always, and good character comes only from a right use of life, and a correct understanding of its duties. Emerson says Character is the most valuable pos session and acquisition of life. Higher than intellect, and a (...) great soul will be strong to live, as well as to think. Moral stature is acquired by an inward growth or development of character. Aided by such precepts and examples as we have been fortunate enough. To obtain, through the ministrations of others, and by our own efforts and observations. The value accorded to an acknowledged weight of exemplary character is illustrated in a letter from President Adams to George Washington, then a private citizen in retirement at Mount Vernon, when in 1798 war was imminent with France We must have your name if you will permit us to use it. There will be more efficacy in it than in many an army. Good citizenship is the aim and object of public school teaching, and is a positive demand of the State. It is the endeavor to do something toward meeting thisdemand by bringing to the young people in our public schools the incentives to high character and noble living by kindly advice and admonition, strengthened by numerous examples and anecdotes from the lives of those whom the world has delighted to honor, that this book has been prepared. If it shall have served this purpose in any degree, the author's object will have been attained. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Recognizing yourself in literature cannot only help you to get a clearer grasp of what you already think and feel. It can also deeply unsettle your vision of yourself. This article examines a hitherto neglected mechanism to this effect: learning by way of seeing yourself in others’ blindness. I show that In Search of Lost Time epitomizes this phenomenon. Confronting characters oblivious to their old age makes the protagonist realize that he, too, has aged without noticing it, and invites readers (...) to analogous insights. The paper contributes to the discussion on how you can learn from literature and adds a twist to Proust’s claim that the purpose of literature is that readers recognize themselves in it. (shrink)

Excerpt from Nietzsche: Ein Akademisches Publikum Beurteilung zu erwarten, die ihre Maßstäbe klar darlegen wird, wenn auch deren Haltbarkeit der Natur der Sache nach an dieser Stelle nicht eingehend wird begründet werden können. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the (...) aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Theorists, historians, and artists address the precarious futurity of the notion of the future. Not long ago, a melancholic left and a manic neoliberalism seemed to arrive at an awkward consensus: the foreclosure of futurity. Whereas the former mourned the failure of its utopian project, the latter celebrated the triumph of a global marketplace. The radical hope of realizing a singularly different, more equitable future displaced by a belief that the future had already come to pass, limiting post-historical society to (...) an uneventful life of endless accumulation. Today, amidst an abundance of neofuturisms, posthumanisms, futurologies, speculative philosophies and accelerationist scenarios, there is as well an expanding awareness of a looming planetary catastrophe driven by the extractionist logic of capitalism. Despite this return to the future, the temporal horizon of our present moment is perhaps more aptly characterized by the “shrinking future” of just-in-time production, risk management, high-frequency trading, and the futures market. In Futurity Report, theorists, historians, and artists address the precarious futurity of the notion of the future itself. Contributors McKenzie Wark, China Miéville, Kerstin Stakemeier, Diedrich Diederichsen, Natascha Sadr Haghighian, Marina Vishmidt, Johannes Paul Raether, Felicity D. Scott, Silvia Maglioni, Graeme Thomson, Doreen Mende, Pedro Neves Marques, Achille Mbembe, Kodwo Eshun, Haytham El-Wardany, T. J. Demos, Ana Teixeira Pinto. (shrink)