The ecological crisis is one of the most critical moral concerns of the present. But the concern is not with the environment, or with that which surrounds us; it is not with an objectified nature, in relation to which humans stand as mere passive observers. Rather, ecological concern emerges from recognition that humanity participates in nature, that our behavior in the natural world affects our own present and future as well as the present and future of the biosphere and that (...) we are morally answerable for this behavior, or responsible in, through, and for our participation.1 Understood in these ways, the ecological crisis can be viewed as an unfolding historical process generated by the structural forms and .. (shrink)

Los planteamientos de A. C. Danto sobre el pluralismo en el arte y la crítica de arte contemporáneos toman como punto de referencia los años ochenta, un corto periodo en el que el pluralismo afloró como tema para la conciencia artística. Movimientos artísticos de los sesenta como el pop, el minimalismo, fluxus, habían derogado la estética como criterio para la definición del arte: obra de arte podía ser cualquier cosa. Esto ya no lo podía asimilar la crítica sino la filosofía (...) del arte, única capaz de un concepto del arte transhistórico y pluralista de por sí. Sin embargo, el pluralismo en el arte requiere también de la crítica. El artículo expone la diferencia entre filosofía del arte y crítica de arte, y para afrontar el reto del pluralismo, la diferencia entre crítica de arte libre y crítica dependiente del mundo del arte institucionalizado. Finalmente, el artículo aprovecha una alusión de Danto para asociar el espíritu del pluralismo en el arte y la política. (shrink)

In this essay, I explore the nature of the logical analysis of Buddhist thought that Graham Priest has offered in his book The Fifth Corner of Four (5of4). The paper traces the development of a logical value in- troduced in 5of4, which Priest has called e. The paper points out that certain criticisms I have made earlier still stand, but focuses on a recon- ceptualization of 5of4 in which these arguments carry less weight. This new perspective on the book, inspired (...) by a response to my arguments by Priest himself, sees the logical analysis of Buddhism as aiming more for an allegorical, suggestive and aesthethic endeavour, rather a purely analytical one. I illustrate this view by focusing on the Ox herding pictures, as interpreted by Priest and Ueda Shizuteru, and I compare it to ideas in the discussion around Critical Buddhism. (shrink)

Machine generated contents note: W. G. COLLINGWOOD Letters from Iceland: introduced by Janet Gnosspelius -- GUIDO VANHEESWIJCK R. G. Collingwood, T. S. Elliot and the Romantic Tradition -- MARNIE HUGHES- History, Education and the Conversation of Mankind -- WARRINGTON --K. B. McINTYRE Collingwood, Oakeshott and the Social Contract -- LIONEL RUBINOFF The Relation Between Philosophy and History in the Thought of R G. Collingwood -- COLLINGWOOD CORNER -- BENEDETTO CROCE In Commemoration of an English Friend, a Companion in Thought and (...) Faith, R. G. Collingwood (translated -- by Lionel Rubinoff and Alan Franklin) -- BENEDETTO CROCE Review of R. G. Collingwood, Speculum Mentis (translated by Lionel Rubinoff and Alan Franklin) -- R. G. COLLINGWOOD Aesthethic and the Mind, introduced by -- James Connelly -- GRACE SIMPSON Collingwood's Philosophy of History: Observations of an Archaeologist -- REVIEWS -- Cameron Wybrow (ed.), Creation, Nature, and Political Order in the Philosophy of Michael Foster, reviewed by -- James Connelly. (shrink)

Here, I explore a modernist aesthetics of death metal. First, I briefly describe a few themes that characterize some modern art, without any claim that they are necessary, sufficient, or exhaustive. The goal is to obtain a set of themes that might be set against similar themes characteristic of death metal. This is the task in the second half of the paper. In particular, I argue that (some) modernist art and death metal share themes centered on transgressively breaking with the (...) past, pursue their conception of the truth, eliminate elements in their art form to purity them, and attack the art/non-art or music/non-music distinction. I contend that centering on death metal vocals reflects these themes. Death metal growls, like some modernist art, transgresses on past vocal traditions, tells us important truths, eliminates traditional concepts/techniques of signing, and undermines the singing/noise distinction. (shrink)