Sartre, na obra os _Cadernos para uma moral_ (1947-1948), apresenta apontamentos sobre a dimensão da história que começa a se desenvolver inicialmente no interior de sua reflexão moral. Sartre, entretanto, não tem uma versão finalizada de sua teoria da história, vinculando sua reflexão a uma comparação e crítica da filosofia da história hegeliana e do materialismo histórico marxiano. Objetivamos neste artigo analisar a crítica sartriana à Hegel nos Cadernos para uma moral sobre a história, mostrando um esboço das noções iniciais (...) de Sartre sobre a história. Sartre se utiliza amplamente de uma crítica à possibilidade de dialética hegeliana, questionando a dimensão desse movimento do real como verdadeiro. É analisada a idealização desse movimento na dialética do senhor e do escravo em obras como Fenomenologia do Espírito (1807) e se tematiza sobre a noção de totalidade da história. Sartre indicia a partir dessa crítica uma noção própria de história vinculada a uma totalidade destotalizada e um devir histórica centralizado na liberdade. (shrink)

Preface to paperback edition -- Why Schelling? why naturephilosophy? -- The powers due to becoming: the reemergence of platonic physics in the genetic philosophy -- Antiphysics and neo-Fichteanism -- The natural history of the unthinged -- "What thinks in me is what is outside me". phenomenality, physics and the idea -- Dynamic philosophy, transcendental physics -- Conclusion: transcendental geology.

Philosophical discussions of health and disease have traditionally been dominated by a debate between normativists, who hold that health is an inescapably value-laded concept and naturalists, such as Christopher Boorse, who believe that it is possible to derive a purely descriptive or theoretical definition of health based upon biological function. In this paper I defend a distinctive view which traces its origins in Aristotle's naturalistic ethics. An Arisotelian would agree with Boorse that health and disease are ubiquitous features of the (...) natural world and thus not mere projections of human interests and values. She would differ from him in rejecting the idea that value is a non-natural quality. I conclude my discussion with some comments of the normative character of living systems. (shrink)

First published in 1989, Towards a Theory of Schooling explores and debates the relationship between school and society. It examines the form and function of one of humankind’s most important social institutions, following the cutting edge of pedagogic innovation from mainland Europe through the British Isles to the USA. In the process, the book throws important light upon the origins and evolution of the school based notions of class, curriculum, classroom, recitation and class teaching.

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

This paper argues that the conditions of the Anthropocene render the four ontologies described by Philippe Descola obsolete, and begins the search for a fifth ontology that speaks to the meaning of...

ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...) and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese wabi-sabi. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a constant striving for new contingencies to respond to. A subtler, more complex relation between composition and improvisation is proposed, in which both have broad and narrow senses. Composition involves works, usually desk produced and notated; or more generally, putting things together in an aesthetically rewarding form. Thus, improvisation is a compositional method. Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions. (shrink)

In the early twenty-first century, philosophy stemming from the continental tradition has become overtly realist. This does not mean it abandons the sophisticated structures of reflection for a givenness on the refutation of which its earliest moments, in Kant, was premised. Nor does it entail a rediscovered faith in the adequacy of intellect to thing. Rather, we might say, new realisms have issued from a critique of transcendental dogmas. In this paper I will provisionally characterise the most salient of these (...) transcendental dogmas before characterizing some of the experiments in removing them. (shrink)

Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the (...) fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti-mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non-acousmatic sound art with the essentially acousmatic art of music. (shrink)

The jargon of evolutionary psychology has recently migrated from a few minor American universities into the academic mainstream and thence into Sunday supplements and dinner party conversations. It has even formed the backdrop to at least one award-winning novel (McEwan, 1997). Evolutionary psychology and other similar ‘biological’ explanations of human conduct pervade the Zeitgeist and, as Kenan Malik has persuasively argued, they tap into a prevailing mood of cultural pessimism. Evolutionary psychology, it seems, speaks to our desire to see the (...) worst in ourselves (Malik, 2002). (shrink)

This chapter contains sections titled: Design as Problem‐Solving or Design as Fashion? The Rise of Design As a Profession: Is Design a Response to Consumerism? Consumerism, Self‐expression, and The “Invention” of Design Consumerism Is Not Essential to Design Were Neolithic Flint Tools Designed? Can We Avoid Designing? – The Idea of “Useless Work” The Function and Value of Fashion.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that (...) it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

The history of science often has difficulty connecting with science at the lab-bench level, raising questions about the value of history of science for science. This essay offers a case study from taxonomy in which lessons learned about particular failings of numerical taxonomy in the second half of the twentieth century bear on the new movement toward DNA barcoding. In particular, it argues that an unwillingness to deal with messy theoretical questions in both cases leads to important problems in the (...) theory and practice of identifying taxa. This argument makes use of scientific and historical considerations in a way that the authors hope leads to convincing conclusions about the history of taxonomy as well as about its present practice. (shrink)

The body is the canvas on which the female experience is painted and through which female identity is often understood. The female body is a slate on which a patriarchal story has been written, scarred onto the flesh. For Simone Weil metaxu was simultaneously that which separated and connected, so for instance the wall between two prison cells cuts off the prisoners but was also the means by which they communicated by knocking on that wall. Could the body be that (...) metaxu all at once separating us and connecting us to the Divine? The nature of metaxu is that it offers a route not just for the individual soul but for the souls of others to travel. If all peoples renounce their outer shell – and by this I do not mean their bodies but rather the bodies or clothes or ideals written upon those people by patriarchy or capitalism or colonialism – if those real bodies come to the broken body of Christ [which is stripped and scarred] standing in solidarity with and mimicking this broken body, without the things which have been put upon their bodies but with scarred flesh showing, then this is where metaxu is possible for here we see a renouncing of ‘self’ as created by patriarchy and all that is left is a space that is the place where we are authentically self and God dwells. (shrink)

Seríamos extremadamente presuntuosos si no fuéramos conscientes de que comenzamos esta revolución con nociones muy vagas y limitadas sobre la práctica de gobierno. Para la mayor parte de nosotros era algo nuevo. De aquellos que bajo la anterior constitución habían tenido oportunidades de adquirir experiencia, una gran parte se adhirió al lado contrario, y del resto sólo cabe suponer que sus ideas estaban adaptadas a la estrecha esfera colonial en la que estaban acostumbrados a moverse, distinta de esa otra que, (...) liberada, es adecuada al gobierno de una nación independiente. (shrink)

Social cognition is critical for successfully navigating social relationships. Current evidence suggests that older adults exhibit poorer performance in several core social-cognitive domains compared to younger adults. Neurocognitive decline is commonly discussed as one of the key arbiters of age-related decline in social-cognitive abilities. While evidence supports this notion, age effects are likely attributable to multiple factors. This paper aims to recontextualize past evidence by focusing issues of motivation, task design, and representative samples. In light of these issues, we identify (...) directions for future research to aide our understanding of social-cognitive aging. (shrink)