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)

This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that is always already here in the (...) immanent and reveals the ability of an object to point beyond itself. Both of these concepts are at work in Van Gogh’s art as well as modern art in general as the expansion of reality through new sight. Immanent transcendence and Van Gogh’s art are different but interconnected ways of rethinking experience beyond the limits of positivism and the myth of the given. Van Gogh’s art thus embodies a sensible world transformed. In particular, Van Gogh’s landscapes and still life series suggest the inexhaustibility of the things we so often overlook in our everyday experience. (shrink)

This article focuses on the analysis of the geo-politics and body-politics of being, and perception as the key concepts in the decolonial option grounded in the spatiality and corporeality of our cognitive and perceptive mechanisms. Revived spatiality refers in this case not only to a physical space that we inhabit but also to our bodies as specific spatial entities – the privileged white male bodies or the damned, non-white, dehumanized and often gendered and sexualized bodies from the underside of modernity. (...) The article presents a decolonial interpretation of the human/non-human binary aimed at rethinking the fundamental modern/colonial division into anthropos and humanitas and the subsequent animalization of large human groups. The main questions are then what does it mean to be animalized by and in modernity and what ways out are possible, desired and attainable for the dehumanized others? The main goal of the article is to further question liberal Western humanism from a decolonial perspective, without yet dropping this concept altogether, and considering instead another humanism model suggested by Sylvia Wynter. Contemporary critical anti-humanist and “other humanism” theories often find a much more accurate and immediate realization through artistic metaphors and activist art projects than traditional theory, problematizing the border between the human and the animal, the man-made and the natural, the individual and the communal. Therefore, the article dwells at some length on one such project balancing between art and critical anthropology – the works of the Northern Caucasus decolonial artist Taus Makhacheva. (shrink)

This editorial highlights the remarkable contributions in this JIS volume that explore the arts as a gateway to the transcendentals of beauty, truth and goodness. It focuses on the recurring notions of order, telos, and creativity reflecting the essential attributes of human nature as imago Dei. Apart from the arts as art therapy, how can the arts connect one to the transcendentals? Can homo musicus aspire to self-transcendence? A shining example of music as self-transcendence is the life and times of (...) Tony Bennett, the legendary singer and an American icon of traditional pop, big band, show tunes, and jazz. Bennett’s love of music, in particular, transcends his physical limitations engendered by the onset of Alzheimer’s in later life. (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 Transcendence and Sensoriness , scholars of theology, philosophy, art, music, and architecture, discuss questions of transcendence, the human senses, and the arts through case studies considered in a broad theological framework of religious aesthetics of the arts.

Religion is undergoing a transformation in current Western society. In addition to organized religions, there is a notable movement towards spirituality that is not associated with any institutions but in which experiences and notions of transcendence are still important. Transcendence can be described as God, the absolute, Mystery, the Other, the other as alterity, depending on one's worldview. In this book, these shifts in the views of transcendence in various areas of culture such as philosophy, theology, art, and politics are (...) explored on the basis of a fourfold heuristic model (proposed by Wessel Stoker)"--Back cover. (shrink)

The traditional function of the Liberal Arts, in contrast to courses in science, was to help students learn how to live meaningful lives. This meant that theology and the study of the Bible as Revelation were a crucial peart of the curriculum. Yet, since the Enlightenment, marked by the rejection of Revelation, the university has depended on reason alone for answering the question: How should I live? But this conceptual shift from Revelation and reason to positivistic reason had some serious (...) consequences, especially a failure to address the innate semantic category of the transcendent-self or Thou. The existential questions still remain: (1) can man be reduced to a kind of animal; and (2) can the arts be reduced to science? Language, semantic primes, and the presence of dual organizational social structures all give supporting evidence that human existence has a superordinate-subordinate ordering, and that such reductionism is impossible. But philosophical Naturalism, in the name of science, has not only dethroned man from his place over nature, but also the liberal arts from their superordinate role over science. If the university is to become relevant in the lives of students again, then it is imperative that both the arts and man be restored to their rightful place. We can begin by restoring the "Bible as Revelation" to the curriculum. (shrink)

This volume reconsiders the relation between visibility and transcendence. The focus is on the contributions to this issue from the theological tradition in protestant Europe between the 16th and the 21st Centuries. A thematically broad field is covered embracing a plurality of methods drawn from theology, philosophy, and the theory of art. In five sub-themes the volueme deals with modes of appearing or hiding of phenomena, the fundamental understand and use of language, with the theological anthropology, the theological discourses behind (...) the religious uses of the different artistic media, and the idea of "vicarious representation"--Back cover. (shrink)

Argues that the concept of the ethical is central to Hegel’s philosophy of art.

_Transcendence and History_ is an analysis of what philosopher Eric Voegelin described as “the decisive problem of philosophy”: the dilemma of the discovery of transcendent meaning and the impact of this discovery on human self-understanding. The explicit recognition and symbolization of transcendent meaning originally occurred in a few advanced civilizations worldwide during the first millennium?.?.e. The world’s major religious and wisdom traditions are built upon the recognition of transcendent meaning, and our own cultural and linguistic heritage has (...) long since absorbed the postcosmological division of reality into the two dimensions of “transcendence” and “immanence.” But the last three centuries in the West have seen a growing resistance to the idea of transcendent meaning; contemporary and “postmodern” interpretations of the human situation—both popular and intellectual—indicate a widespread eclipse of confidence in the truth of transcendence. In _Transcendence and History_, Glenn Hughes contributes to the understanding of transcendent meaning and the problems associated with it and assists in the philosophical recovery of the legitimacy of the notion of transcendence. Depending primarily on the treatments of transcendence found in the writings of twentieth-century philosophers Eric Voegelin and Bernard Lonergan, Hughes explores the historical discovery of transcendent meaning and then examines what it indicates about the structure of history. Hughes’s main focus, however, is on clarifying the problem of transcendence in relation to historical _existence_. Addressing both layreaders and scholars, Hughes applies the insights and analyses of Voegelin and Lonergan to considerable advantage. _Transcendence and History_ will be of particular value to those who have grappled with the notion of transcendence in the study of philosophy, comparative religion, political theory, history, philosophical anthropology, and art or poetry. By examining transcendent meaning as the key factor in the search for ultimate meaning from ancient societies to the present, the book demonstrates how “the decisive problem of philosophy” both illuminates and presents a vital challenge to contemporary intellectual discourse. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the presence (...) of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being (i.e., also of ultimate reality), then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed (Abhinavagupta, St. Augustine, F. Engels). The final aim is to show (...) how the interpretation of ultimate reality can contribute to a better understanding of the creative process in art. These considerations can also throw light on one particular aspect of civil life—the relations between everyday life and its final goals. If we are to gain an understanding of the relations between ultimate reality, art and civil life, then the disciplines of aesthetics, philosophy, history and anthropology, and cultural history should all contribute together. (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

This book expounds and analyses notions of transcendence, creation and incarnation reflectively and personally, combining both philosophical and religious insights. Preferring tender-minded approaches to reductively materialistic ones, it shows some ways in which reductive approaches to human affairs can distort the appreication of our lives and activities. In the book's first half it examines a number of aspects of human life and experience in the thought of Darwin, Ruskin, and Scruton with a view to exploring the extent to which there (...) could be intimations of transcendence. The second half is then devoted to outlining an account of divine creation and incarnation, deriving initially, though not uncritically, from the thought of Simone Weil. The text concludes by examining the extent to which grace is needed to engage in religious practice and belief. Taking in art, literature, music and classical Greek writings, this is a multifaceted thesis on transcendence. It will, therefore, will be of keen interest to any scholar of Philosophy of Religion, Theology, Aesthetics and Metaphysics. (shrink)

In this book, ten experts in philosophy of film explore the importance of transcendence for cinema as an art form in the films of the great directors, David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese.

A well-known feature of great works of art is their power to “live on” long after the moment of their creation – to remain vital and alive long after the culture in which they were born has passed into history. This power to transcend time is common to works as various as the plays of Shakespeare, the Victory of Samothrace, and many works from early cultures such as Egypt and Buddhist India which we often encounter today in major art museums. (...) -/- What is the nature of this power and how does it operate? The Renaissance decided that works of art are timeless, “immortal” – immune from historical change – and this idea has exerted a profound influence on Western thought. But do we still believe it? Does it match our experience of art today which includes so many works from the past that spent long periods in oblivion and have clearly not been immune from historical change? -/- This book examines the seemingly miraculous power of art to transcend time – an issue widely neglected in contemporary aesthetics. Tracing the history of the question from the Renaissance onwards, and discussing thinkers as various as David Hume, Hegel, Marx, Walter Benjamin, Sartre, and Theodor Adorno, the book argues that art transcends time through a process of metamorphosis – a thesis first developed by the French art theorist, André Malraux. The implications of this idea pose major challenges for traditional thinking about the nature of art. (shrink)

Currently, art takes on the characteristics of a secular religion: it offers identity, dogmas, canons, experiences of transcendence and provides a certain worldly salvation without demanding any commitment to a creed or a doctrine. I will illustrate this through the example of the performance Marina Abramovic carried out at the Museum of Modern Art (MoMA) in The Artist is Present (2010). I will connect this to the distinction that Agamben has set between the concepts of secularization and desecration: while secularization (...) displaces the forces from one place to another, leaving them intact, desecration involves neutralizing the desecrated, eliminating its aura and putting it back to use. Even though it is commonly believed that contemporary art desecrates realities, I will try to show that actually it secularizes them. Art brings with it the strength and meaning of the religious and keeps the integrity of the auratic space within the artistic realm. This is one of the reasons why transgression in art is such an important topic for theorists: it is a constant effort to redefine the limits between what is considered sacred (and art has a decisive power on that) and what is profane (not sacred anymore or not yet). (shrink)

Art, Truth, and Time is a book which endeavours to show that artistic creation depends as much upon the body, as it does the soul, and the soul's intelligent use of the body's way of understanding. When there occurs a complete disjunction between the two, as occurs in much of contemporary art, art is stripped of its inherent beauty, its wholeness. In this book the author considers the nature of art from its earliest manifestations to the present day, endeavouring to (...) show that its truth transcends time and place through the unity of soul and body and man's awareness of this unity, not a barren unity, but a unity which is profoundly creative. (shrink)

How one transcends the self depends on the self that experiences it. Is it instigated or sought, does it happen by accident, or by an act of Grace? Is it common or rare? Is it brought on by the ingestion of psychedelic agents or by meditation or by being overcome by fear or merely by caring more about the welfare of others than oneself? Is it transcendence to experience a shift of perspective or dissolution of the self? In the pages (...) that follow, each of these paths is explored in nine ways, each unique unto itself. None of them deal with absolute self-transcendence, which should be no surprise, for, as I’ve indicated, there would no longer a self or person to record or communicate the event. Many of them deal the transcendence of self-consciousness, my own included, but only two describe the ingestion of mind-altering psychedelics to catalyze the event. One sees self-construction from the ground-up, as it were, as a form of transcending a previous self that has disintegrated. One looks to acts of kindness to sidestep the illusion of self-consciousness. Two, at least, look to creative experience in the arts as a way to connect with universal spontaneity, but in very different ways. The others refer to what might be called spiritual experiences that, though thirsted for or sought, arrive unexpectedly, almost like a gift. (shrink)

In a 1985 article entitled “The Art of Glaukos,” Diskin Clay suggested that the enigmatic passage at the beginning of the geological myth in Phaedoreferred toRepublic10, where the soul is likened to the sea-creature Glaucus whose true nature, like the soul’s, is obscured by the distortions imposed by underwater life. Starting with a defense of Clay’s ingenious suggestion, my purpose is to compare Phaedoto Glaucus, with its true nature obscured by traditional assumptions about the order in which Plato composed his (...) dialogues, and thus how they should be read. At least part of the reason that Clay’s thesis has not been embraced is because it clashes with the dogma that Phaedocannot refer back to Republic; I want to challenge that dogma. Borrowing from Catherine Zuckert the notion that, since Phaedocomes at the end of Socrates’ story, it can usefully be read as the culmination of the Platonic dialogues, I will show how a “late” Phaedo—i.e., a reading of the dialogue that is open to the possibility that it refers to more than one dialogue generally considered to be later than it with respect to composition—recovers its true nature, presently encrusted with the oysters and seaweed of an outdated developmentalism that has obscured this culminating masterpiece of Plato’s dramatic and philosophical art. (shrink)

In Transcendent Love: Dostoevsky and the Search for a Global Ethic, Leonard G. Friesen ranges widely across Dostoevsky's stories, novels, journalism, notebooks, and correspondence to demonstrate how Dostoevsky engaged with ethical issues in his times and how those same issues continue to be relevant to today's ethical debates. Friesen contends that the Russian ethical voice, in particular Dostoevsky's voice, deserves careful consideration in an increasingly global discussion of moral philosophy and the ethical life. Friesen challenges the view that contemporary (...) liberalism provides a religiously neutral foundation for a global ethic. He argues instead that Dostoevsky has much to offer when it comes to the search for a global ethic, an ethic that for Dostoevsky was necessarily grounded in a Christian concept of an active, extravagant, and transcendent love. Friesen also investigates Dostoevsky's response to those who claimed that contemporary European trends, most evident in the rising secularization of nineteenth-century society, provided a more viable foundation for a global ethic than one grounded in the One, whom Doestoevsky called simply "the Russian Christ." Throughout, Friesen captures a sense of the depth and sheer loveliness of Dostoevsky's canon. Dostoevsky was, after all, someone who believed that the ethical life was sublimely beautiful, even as it recklessly embraced suffering and unreasonably forgave others. The book will appeal to both students and scholars of Russian literature and history, comparative ethics, global ethics, and cultural studies, and togeneral readers with an interest in Dostoevsky. "Others have written about Dostoevsky's ethics, but I am not aware of any single-authored, sustained attempt to make the case for Dostoevsky's 'transcendent love' as part of a larger discussion of a global ethic. Moreover, Leonard Friesen presents his case in an engaging and highly accessible form. He believes passionately that Dostoevsky is deeply relevant to the discussion; his commitment rings through the pages and draws the reader in. In this way, his essay makes an original contribution to Dostoevsky studies that will appeal to scholars in a variety of disciplines and to educated lay readers with ethical concerns about the path of modernity, as well as to the many fans of Dostoevsky's work." --Russell Hillier, Providence College. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

Early 20th century debates over the possibility of ‘metaphysics’ are grounded in a set of questions and answers whose central themes are already delineated in Kant’s critical philosophy. Wittgenstein and Carnap are sympathetic to Kant’s dismissal of transcendent metaphysics, but skeptical that there could be any substantive account of the fundamental conditions of our meaning-making. By contrast, Heidegger follows Fichte and the early German Romantics in seeing answers to the problems raised by metacritique not in science, but in the (...) non-discursive forms of understanding and expression exemplified in art. This Romantic turn to art is not taken arbitrarily; it is motivated by methodological considerations that emerge within Kant’s own critical system. I take up the Kantian considerations which lead to an understanding of art as a window into the fundamental conditions of meaning-making before turning to Heidegger’s development of this line of thought. Next, I examine Carnap and Wittgenstein’s skepticism concerning the meaning of Heidegger’s philosophical terminology, focusing on what is perhaps the most problematic case: Heidegger’s talk of ‘the nothing’. I argue that this skepticism is overblown. Heidegger’s talk of the nothing is meaningful in the way that talk about figure and ground is meaningful: it serves as an ostensive indication of intersubjectively accessible structural features of our encounters with things. I conclude by drawing out the existential ramifications of the decision to speak or be silent, drawing on Audre Lorde to illustrate the place of art in making it possible for us to lead authentic lives. (shrink)

The purpose of this preliminary qualitative research study is to explore the role and function of multiple dynamic interactive aesthetic and intersubjective phenomena in the creative arts therapies process relative to transformation in perception, behavior, relationship, and well-being. A group of doctoral students and faculty studied these phenomena in an analogous creative arts therapies laboratory context using a method called Intrinsic Arts-Based Research. Intrinsic Arts-Based Research is a systematic study of psychological, emotional, relational, and arts-based phenomena, parallel to those emergent (...) in the creative arts therapies, using individual and collective intrinsic immersive and reflective experience in combination with qualitative and arts-based research methods. Our primary goal was to simulate the creative arts therapies experience in order to identify, document, and describe the complex transformative phenomena that occur at the nexus of arts-based expression, reflection, and relationships in the arts therapies. For the purposes of this paper transformation is defined as “.... a significant reconfiguration of perception and thought resulting in the lessening of psychic restraint and pain, allowing for the emergence of new psychological perspectives that contribute to living a more creative life” (Gerber et al. 2012, 45). Through a deductive thematic analysis of written accounts of these simulated creative arts therapies experiences by participant/researchers in the laboratory we identified three primary dynamic and interactive broad constructs that together, with more specific modifying themes, might account for and describe change within the creative arts therapies. These broad dynamic interactive themes are: ruptures, resolutions, and transformation; relationship and intersubjectivity; and, arts-based expressive processes. The more specific modifying themes include dialectical rupture and resolution, relational attunements and ruptures, imaginational flow, transcendence and ruptures, sensory/kinesthetic/embodied ways of knowing, and intersubjective transcendence. We propose that change in the creative arts therapies is driven more by a dynamic system of interactive phenomena the varying combinations of which create conditions for relational attunement, imagination, dialectical tensions and creative resolutions, and the ultimately creative transformation. (shrink)

In this paper, I compare aspects of Heidegger’s and Dewey’s thoughts and argue that such a comparison is educationally promising. I make this argument primarily by comparing their understandings of art, which show striking similarities. Both Dewey and Heidegger, indeed, framed art as a favorite noetic experience; both conceived of art as something that not only completes thinking but that is even necessary for thinking to happen. Both philosophers conceived of art as a means of enlarging experience, thereby overcoming the (...) hallmark of Cartesian epistemology, namely, the subject/object distinction. I wish to also argue that, through the lens of art, we can reframe and better understand some aspects of their... (shrink)

After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence (...) and autonomy from ordinary reality and practical life, he insists that aesthetics cannot directly contribute to transformative praxis in the real world but can operate only indirectly by transforming our sensibilities. Pragmatist aesthetics, particularly though somaesthetics, resolves the dilemma in Marcuse's aesthetics of liberation by bridging the alleged gap between aesthetics and praxis by reeducating our sensibilities in a more direct, practical, embodied way. The article further exemplifies the overlaps and differences between Marcuse's critical theory and pragmatist somaesthetics by focusing on erotic experience, which is essential to Marcuse's liberational program and increasingly present in somaesthetics’ concern with aesthetic reeducation of our senses and sensibilities. (shrink)

From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function of (...) art (the aesthetics) developed by Enlightenment thinkers such as Hume and Kant – explanations that continue to be influential among contemporary philosophers of art. Today, however, there are fundamental questions to be asked: Is beauty still the ruling ideal of art? If not, what becomes of traditional, post-Enlightenment aesthetics which continues to shape much modern thinking about art? (shrink)

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests human experience (...) with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)

This paper focuses on the central theme of this conference and discusses how higher education can help us in accomplishing our humanization. It looks at the critical educational theory of Herbert Marcuse, and examines his notion of the dis-alienating power of the aesthetic imagination. In his view, aesthetic education can become the foundation of a re-humanizing critical theory. I question the epistemological underpinnings of Marcuse's educational philosophy and suggest an alternative intellectual framework for interpreting and releasing the emancipatory power of (...) education. (shrink)

L'Homme, cet être vivant doué de raison, fabricant d'objets élaborés, doté d'un langage articulé, chez lequel a émergé la pensée conceptuelle et symbolique, se caractérise par une aptitude à l'émerveillement, et une capacité d'espérance accompagnée d'un refus de l'absurde. Avec l'invention de l'outil manufacturé et les premiers témoignages d'une pensée symbolique, comment la fabuleuse aventure culturelle et spirituelle de l'Homme a-t-elle débuté? Pourquoi à travers les temps, même les plus anciens, et dans toutes les cultures, l'émergence du sens de la (...) transcendance n'a-t-il cessé de se manifester et de s'inscrire au coeur de notre humanité? Comment est-il devenu une caractéristique de l'Homme, une de ses aspirations profondes? Comment définir le sens du sacré? C'est de cette dimension intrinsèquement humaine, et des traces qu'elle a laissées, qu'il est ici question. Après L'Univers, la Vie et l'Homme : émergence du sens de la Conscience et Le Beau, l'Art et l'Homme : émergence du sens de l'Esthétique, voici le troisième et dernier opus dirigé par Henry de Lumley, issu d'un cycle de conférences au Collège des Bernardins. L'ambition de ces rencontres? Faire dialoguer physiciens, astrophysiciens, géologues, biologistes, paléoanthropologues, préhistoriens, historiens de l'art, philosophes et théologiens autour de questions qui ont trait à l'essence de l'humanité. (shrink)

Kristeva's Teresa My Love concerns the life and thought of a 16th century Spanish mystic, written in the form of a novel. Yet the theme of another kind of foreigner, equally exotic but this time threatening, pops up unexpectedly and disappears several times during the course of the novel. At the very beginning of the story, the 21st century narrator, psychoanalyst Sylvia Leclerque, encounters a young woman in a headscarf, whom Kristeva describes as an IT engineer, who speaks out, explaining (...) that "she and her God were one and that the veil was the immovable sign of this 'union,' which she wished to publicize in order to definitively 'fix it' in herself and in the eyes of others." In this paper I ask what difference Kristeva discerns between these two women, a distinction that apparently makes Teresa's immanence simultaneously a transcendence, but transforms a Muslim woman in a headscarf immediately into an imagined suicide bomber. Despite the problematic aspects of this comparison, we can learn something from them about Kristeva's ideas on mysticism and on art. Both mysticism and art are products of the death drive, but whereas the suicide bomber and the animal directly and purely pursue death Teresa and Adel remain on its outer edge and merely play with mortality. (shrink)

One of the most remarkable contributions André Malraux makes to the theory of art is his explanation of the relationship between art and time: his argument that art transcends time through a process of metamorphosis. This proposition, which replaces the traditional belief that art resists time because it is eternal or immortal, poses a major challenge to traditional aesthetics. This article examines the notion of metamorphosis and the challenge it represents.

In lieu of an abstract, here is a brief excerpt of the content:The Transcendence of WordsAkos Krassoy (bio)Levinas’s central contribution to aesthetics and the philosophy of art is his well-known and provocative attempt to ethicize art. Yet, there is hardly any certainty regarding the nature of this ethicization. As far as the realization of Levinas’s program is concerned, readers usually remember its harmful effects.1 On the other hand, there are equally appreciative tones in his reading of art. It might be (...) more correct to say that the derogatory side is part of a fundamentally ambiguous attitude. It is almost as if Levinas’s radical ethical thinking, the job of which is to tackle totalizing Western thought, should speak in two voices when it comes to the aesthetic and the arts.Most of the commentaries run into, and then set out to resolve this weird situation marked by pejoration and ambiguity in one way or another. This is no easy task to accomplish; there is surely no single way out of this labyrinth. An element of irony is definitely required on the side of the interpreter. Arguably, my text may be no exception in the long line of attempts. In the following, I shall try my hand at these complexities and, similarly to other readers, deal with the contradictory remarks and implied but underdeveloped ideas by putting them into a meaningful framework. Like others before me, I shall do my best to provide a narrative as coherent as possible in which the letter [End Page 1] and the spirit of Levinas are followed and the relevant (phenomenological) aesthetic context is taken into account. In my case, this will mean siding with those interpreters who see a fixed set of problems dominating — that is, a single consistent path winding — in Levinas’s difficult itinerary. In more concrete terms, I shall join the camp of those who show sensitivity to the introduction of the critical act and argue that the shortcomings of the aesthetic are, to some extent, reversed in its recontextualization in human communication.2 Yet, unlike these authors who touch upon the issue of criticism to varying degrees, I shall concentrate fully on placing critical activity in the center of Levinas’s aesthetic thought and thus treating art as an important segment of ethical signification. My focus will be on the reintegration of the disengaged image into reality; I shall try to determine what this development in art implies in Levinas’s ethical phenomenological project. Concerning the particular course of my text, I shall concentrate mostly on the issue of ambiguity and, gradually working my way through it, deal with pejoration at the same time. I shall first analyze what is at stake in this ambiguousness, then attempt to establish its governing logic, only to prepare the ground on which criticism as a way out of the maze can be seen in its entirety.A Real Headache: AmbiguousnessAnyone interested in Levinas’s aesthetic thought arrives at a truly interesting but nebulous field. By nebulousness I primarily mean the overly ambiguous character of Levinas’s position. What Levinas has to say is indeed quite difficult to pin down or, at least, it is highly equivocal: the noise of critique is balanced by the sound of quiet but all the more patent affirmation. In every phase of his thinking there is a suspicion felt toward artistic expression, which may on occasion reach the level of derogation; all this is nevertheless accompanied by clear-cut support. This can be sensed in chance remarks, such as, in “Reality and Its Shadow” — the essay mostly responsible for the bad reputation of [End Page 2] Levinas in aesthetics — where Levinas discusses the plasticity of literary works and mentions a “particularly admirable page” in Proust’s The Captive (RS 10). In spite of the anti-aesthetic logic and philistine-like rhetoric of the essay, the art-loving character of the author — who is beyond a doubt an affectionate reader — is revealed for a second.Remarks like this are quite suggestive with respect to Levinas’s appraisal of the arts—as are many other details of Levinas’s work. Of all these, his apparent knowledge and use of artworks in his... (shrink)

Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.

" Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice ...