Journal articles on the topic 'Contemporary metaphysical art'
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1
Cappi, Alberto. "The Cosmology of Edgar Allan Poe." Proceedings of the International Astronomical Union 5, S260 (January 2009): 315–20. http://dx.doi.org/10.1017/s1743921311002468.
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AbstractEureka is a “prose poem” published in 1848, where Edgar Allan Poe presents his original cosmology. While starting from metaphysical assumptions, Poe develops an evolving Newtonian model of the Universe which has many and non casual analogies with modern cosmology. Poe was well informed about astronomical and physical discoveries, and he was influenced by both contemporary science and ancient ideas. For these reasons, Eureka is a unique synthesis of metaphysics, art and science.
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Bharadwaj, S. "Dylan Thomas’s “In the White Giant’s Thigh”:A Wild Love of Art Song." Advances in Language and Literary Studies 12, no. 4 (August 31, 2021): 91. http://dx.doi.org/10.7575/aiac.alls.v.12n.4.p.91.
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In the poem “In the White Giant’s Thigh,” Dylan Thomas projects the contemporary poets’ wild passion for Eliotian amoral art song and their suffering and the contradistinction of his own occasional love of Yeatsian Grecian altruistic art song and his delight. The poem is at bottom optimistic as it offers the metaphysical and the metempirical wild lovers an alternative process of art song and also carries salvation to transcend their sorrowful failure. It is Thomas’s faith in the Yeatsian process of transfiguration and transformation, the possibility of deliverance from the bondage of experience and ignorance that assures him of success and appeal in his art songs, that Auden repudiates in his metaphysical process of transgression and transmigration and his immortal vision of aesthetic amoral art song. The poem implies that Auden, as a result of his continual ignorance of the human reality of life and death, his stoic love of metaphysical art and reality, loses his grandeur and literary reputation and stoops to the level of a common man susceptible to hatred and indignation, violence and vengeance like the victims of his art songs, the political, the war and the Movement poets who remain equally ignorant of the metaphysical process and the reality of breath and death.
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Ofilada Mena, Macario. "Creativity, art, mystagogy: Logos as and in the end of waiting from the origin, hoping toward the originary." Estudio Agustiniano 57, no. 3 (December 1, 2022): 613–49. http://dx.doi.org/10.53111/ea.v57i3.1095.
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This essay is an attempt to differentiate and correlate Aesthetics, Art, Artworks and Creativity. With metaphysical reflections against the backdrop of history, we underscore in view of the aforementioned key concepts the transition from waiting and hoping and use the same transition to differentiate existence from life, all within a metaphysical and spiritual framework that informs all the conceptual exposition. The open-ended result calls for more essays, in the name of Humanity, especially aided by works of art, specifically by some contemporary American poems, that seek to go beyond the wording of artworks by means of the creative response to the vocation of homing by means of art.
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Leddy, Thomas. "Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics." Washington University Review of Philosophy 1 (2021): 53–60. http://dx.doi.org/10.5840/wurop202117.
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Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.
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Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.
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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his rejection of objecthood, I argue that Flavin was continuously preoccupied with Catholic theology and that his work is imbued with Christian iconography. Thinking alongside the fourteenth-century philosopher William of Ockham and the twentieth-century post-Husserlian phenomenology of Jean-Luc Marion, the evolution of Flavin’s light constructions proves relevant to the quandary of metaphysics and the role of theology in radical immanence. To bracket his metaphysics is to ignore the full implications of his art.
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Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World." Genealogy 3, no. 4 (November 14, 2019): 59. http://dx.doi.org/10.3390/genealogy3040059.
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This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means permanence and stability and thus, since earthly things are continuously changing, being cannot be predicated of them, hence earthly things are not real. I present textual support to show that León-Portilla does not read Nahua metaphysics through the lens of a metaphysics of being and thus that León-Portilla does not interpret the tlamatinime as denying the reality of earthly things. I then provide an exegetical analysis of León-Portilla’s texts to show that, in his interpretation, metaphysical concerns are intimately linked to existential questions regarding the meaning of human life. Ultimately, I argue that, in León-Portilla’s interpretation, the tlamatinime conception of art functions as poiesis, that is, as the process of aesthetic creation that gives meaning to human life.
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Tes, Agnieszka. "Wybrane dzieła współczesnego polskiego malarstwa abstrakcyjnego w świetle Ingardenowskiej koncepcji jakości metafizycznych." Argument: Biannual Philosophical Journal 9, no. 1 (June 30, 2019): 81–100. http://dx.doi.org/10.24917/20841043.9.1.5.
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Selected works of the contemporary Polish abstract painting in the light of Ingarden’s
conception of metaphysical qualities: The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that
represent some tendencies in abstract painting. I start by summarizing this concept, taking
into consideration the elements of its reconstructions that are present in the source literature,
especially those aspects that concern art. Although Ingarden’s idea can be used with many
examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists
Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend
to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that
allows me to enrich the interpretation of these artworks by showing them in a new light. By
recognizing the role of contemplation of art, I try to fnd the genesis of the analyzed examples
and reveal how metaphysical qualities manifest in them and infuence the viewer. I underline
aspects that are distinctive of the presented artists and are related to the exceptional ability of
abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of
view I maintain the relationship between aesthetic and metaphysical sense that creates a kind
of interdependence. These artists intentionally go beyond purely aesthetic efects to relate to
transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link
philosophical and critical ways of approaching these artistic phenomena with special regards to
their metaphysical connotations that tend to be overlooked in contemporary discourses.
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Mushtaq, Waseem. "CONFLUENCE OF ART AND TECHNOLOGY WITH SPECIAL REFERENCE TO CONTEMPORARY ART PRACTICE IN INDIA." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (January 26, 2022): 27–40. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.50.
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For centuries, across the worlds, artists have struggled to invent new techniques to perfect their articulation, which in turn has changed art and its relation to the viewer. In the course of art history technology has served as a useful aid to develop innovative methods for making art. For long the utilitarian notion of technology did not clash with the metaphysical or intuitive notions of art. But in modern times the reproduction technology has raised questions concerning authenticity and originality of an artwork. In the present transitory times the digital technology is continuously redefining art and the manner in which the art/audience response circuit has undergone a paradigm shift. The present paper attempts to delineate a capsule account of the confluence between art and technology in general and discuss how Indian contemporary artists engage the art/technology interface in their art practice.
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Nakoneczny, Tomasz. "Rosja jako tekst w prozie Wiktora Pielewina." Studia Rossica Posnaniensia, no. 41 (June 20, 2018): 159–72. http://dx.doi.org/10.14746/strp.2016.41.13.
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The article presents the work of Victor Pelevin, one of the most famous contemporary Russian writers, in the context of changes in literary communication. The writer uses postmodern techniques and strategies (intertextuality, decanonization, heterogeneity) and traditional cultural motifs and themes (Russian and foreign) to compensate literature for the loss of its metaphysical attributes and authority of high art.
10
Ustun, Berkay. "Antinomies of Metaphysical Experience between Theodor Adorno and Philippe Lacoue-Labarthe." Open Philosophy 2, no. 1 (October 2, 2019): 428–46. http://dx.doi.org/10.1515/opphil-2019-0030.
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AbstractThis article is an inquiry into the concept of metaphysical experience through a joint discussion of two authors and philosophers with different approaches that nevertheless converge in the reclamation of the concept and rely both on the experience of death as an example. In both cases, the authors are guided by the central problem of how not to relinquish metaphysical experience to unscrutinized immediacy or a powerful conversion which enjoins subjection, putting it in contact with aesthetics and ethics at once. Theodor Adorno situates metaphysical experience as a problem of philosophy of history and devotes attention to the contemporary possibility of experiences that evoke transcendence. The transformations he identifies in the concept also lead him to propose art as a domain where metaphysical experience is alive. The implicit personal investment Adorno makes is much more clear in Lacoue-Labarthe who, in a dialogue with Maurice Blanchot, shows the experience as deeply bound up with literature and its links to subjectivity. The article argues that the main difference between the two approaches is modal and temporal from the side of the object, aside from the different modes of interrogation recognized with the labels deconstruction and critical theory.
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Stoicescu, Andreea. "Sacred Art Between Tradition and Personal Expression: The Orthodox Icon and Artistical Transgressions of the Canon." Diakrisis Yearbook of Theology and Philosophy 4 (May 31, 2021): 61–78. http://dx.doi.org/10.24193/diakrisis.2021.5.
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The aim of this article is to present a personal reflection regarding the theoretical/philosophical relation between the generally accepted theological grounding of icon painting and other contemporary artistical endeavours to integrate the religious feeling – of Christian-Orthodox inspiration. This reflection is based on a mixture of ideas from different thought-frameworks which have as common ground the need for speculating on issues such as ‘tradition understanding’, ‘personal expression’, ‘art and religiousness’, exactly those key-themes that are constituting the fundamental threads of my argumentation. Hence, my appeal to authors like Lucian Blaga, Leonid Uspensky, Martin Heidegger, Paul Evdochimov, and Christos Yannaras. The point of departure for my study is the powerful and unavoidable conflict between the need for personal artistic interpretations of religious themes – expressed through contemporary artistic techniques and the application of contemporary metaphysical modelings – and the need for attaching oneself to an ‘authentic’ tradition of religious experience and to a community with deep roots in history. My all-round thesis is that this conflict cannot be, at least, clarified by choosing, from the artistic point of view, between two extremes: contemporary secular art on the one hand, and sacred, canonical art on the other hand, but by finding conceptual common pathways.
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Adepoju, Oluwatoyin Vincent. "Adapting Yorùbá Epistemology in Educational Theory and Practice in Nigeria." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v3i1.129918.
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What is the value of Yoruba epistemology, theory of knowledge, particularly its philosophy of perception, to humanity in general, and to contemporary Nigeria, in particular? How does Yorùbá epistemology connect with educational theory and practice in Nigeria? This essay recognizes but goes beyond the more general overviews on classical Yoruba education and its contemporary significance represented in works of Yorùbá and Africanist scholars. I demonstrate the significance of Yoruba philosophy of education beyond its cultural context, by projecting its universal and timeless value, foregrounding its distinctive concepts in dialogue with ideas from other cultures. In its engagement with Nigerian educational dynamics, the essay concentrates, first, on Yoruba epistemology in its intersection with ethical and metaphysical perspectives from Yoruba thought. Second, the essay deploys the African art-centered investigations of the role of the senses in relating with art, understood as paradigmatic of navigating the world.
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Ustiugova, Elena N. "The Evolution of the Problem of Art Synthesis in Aesthetics." Koinon 2, no. 3 (2021): 30–43. http://dx.doi.org/10.15826/koinon.2021.02.3.026.
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The article centres on the evolution of the art synthesis problem in aesthetics in the XIX–XX centuries. The author examines the internal logic of the historical development of art synthesis concepts in aesthetic theory and artistic practice. They embrace Romanticism, Symbolism, early Russian avantgarde (metaphysical), and different versions (life-building) of the European avantgarde, such as Dadaism, Bauhaus, Futurism. The author compares them with their contemporary approaches. The analysis allows us to conclude that belonging to one cultural paradigm, according to which art wants to be more than art, actively interfering with human life and society unites strategies of artistic synthesis. The differences in the approaches to the problem of artistic synthesis in the European culture of the XIX–XXth and the XXIst centuries are associated with a set of problems to be solved. First of all, the focus of realization of this synthesis is either to establish harmony between artistic consciousness and existence or to transform social reality or to satisfy a person’s need for self-affirmation. This focus also determines the sphere of artistic synthesis — in consciousness, language, or social or anthropological practice. In contemporary studies of art synthesis, the examination of new potentials of art involvement into the reality of life, engagement into the art-aesthetic communication of active recipients as a co-participant of the art event continues.
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Hill, Jacqueline. "The Metaphysical Quality that gives a Visual Identity Mark its Sway." southern semiotic review 2021 ii, no. 15 (December 31, 2021): 1–34. http://dx.doi.org/10.33234/ssr.15.1.
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Addressing a specific aspect of visual communication, the focus of this paper is to examine the connection between elemental nature-inspired archetypal symbols and contemporary Visual Identity Marks, for example the archetypal Solar Cross to the BP VIM, Helios, by establishing the existence of a contextual relevance and relationship. It furthermore analyses the fundamental influence of these archetypal symbols upon the viewer/user (internal and external audiences), no matter what level of sophistication the viewer’s/user’s society has achieved. To build an appreciation of the continuity and effectiveness of the use of elemental nature-inspired archetypal symbols within a contemporary context, areas of expertise not traditionally utilised within visual communication, such as sociology, archaeology, theology and folklore were engaged. While being defined as “a recurrent symbol or motif in literature, art or mythology” (Random House Dictionary, 2012), an archetypal symbol also possesses a metaphysical quality. This metaphysical quality enables the symbol to act as a galvanising and motivating force, which re-enforces individual and group identity, and ultimately transmit a sense of the sacred and the institutional within a mutable world. The archetypal (natural) symbol is the response of the psyche reflecting the ‘internal truth’. The VIM (cultural) symbol is a vehicle to maintain power for financial or political profits as well as sustain group coherency, and individual identity. Encoded within both a ‘natural’, and a ‘cultural’ symbol, is a deep spiritual quality tapping into a deeper symbolic language which evolved from humanity relating back to nature. Drawing upon notions of individual interpretation, the paper analyses the very idea of personal and/or subjective mental constructs related to visual identity marks.
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Drobysheva, Elena E. "Dancing in the Modus of Self-Identification." Observatory of Culture 17, no. 6 (February 10, 2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2020-17-6-638-647.
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The main idea of the article is to address the phenomenon of dancing as a type of creative activity in the modus of self-identification. Sociocultural (self-)identification within the framework of art is taken as the process and space of forming an outline — personal and collective — in relation to certain groups of values, norms and traditions, as a way to discover the boundaries of reflexivity and the possibility of their representation in an artistic act. Basing on the interpretation of reflection as self-directed thinking, this article solves the problem of showing the potential of art in general, and dancing in particular, in the aspect of formation and preservation of identity parameters. The identity is considered as the result of constructing metaphysical supports and methods of self-representation in the widest range: national, religious, ideological, gender, but above all — the actual artistic-stylistic one. In addition to the obvious value of beauty and harmony, the article highlights expressiveness and authenticity as the main axiological guidelines for the art of choreography. The author analyzes the high communicative potential of dancing as a type of artistic activity both at the professional and amateur levels. The article focuses on the specifics of self-identification procedures in the space of modern dance, interpreted in this context in a wide chronological field — from the emergence of “free dance” by Isadora Duncan to current trends in postmodern dance, “contemporary dance” and performative practices. The study concludes that dancing has a high axiological potential as an artistic activity that combines physical and metaphysical practices.
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McGuire, Olivia. "“Incarnational Art”: Thing Theory and Flannery O’Connor’s Wise Blood." Religion and the Arts 17, no. 5 (2013): 507–22. http://dx.doi.org/10.1163/15685292-12341298.
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AbstractFlannery O’Connor’s fiction confounds contemporary critics and readers with its combination of grotesque, violent imagery, and a deeply consistent, thematic concern with religion. This article argues for a new methodology of reading O’Connor that will enrich this seeming incongruence, by first examining the role of objects, such as those inWise Blood, through the lens of thing theory. Heidegger’s idea of the thing and Bill Brown’s thing theory offer readers a mode of interpreting objects that expands the traditional sense of symbolism and encourages a broader understanding of the multiple layers of significance—both the functional and metaphysical—encompassed in things that play a major role inWise Blood, such as the car, gorilla suit, and mummy. Through a close reading ofWise Blood, the author demonstrates thing theory’s potential as a tool to account for O’Connor’s incarnational aesthetic, and to overcome the tendency to relegate her fiction to purely religious or secular spheres.
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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.
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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct contact with the Sublime. Seeking out the “other world”, overcoming the limitations of the mortal and suffering world is carried out through the transformation of the Sublime. Today the subject of the Sublime in art is at the peak of research interest. This is evidenced by the project The Art of the Sublime, launched in 2008 by the Tate Modern gallery (London, UK), dedicated to the study of this phenomenon from the Baroque era to the present day. It touches upon all types of visual art from painting to installation. Research shows how evolution goes from the natural Sublime, realized in the depiction of rare and impressive natural phenomena, to the technological Sublime, which declared itself in the second half of the twentieth century, to the distinction between the Sublime and the beautiful. In modern Moscow painting, we meet the implementation of the principle of the Sublime in the work of the artist Vladimir Matveev. Relying on the sacred art of Russian icons, and the avant-garde, the color discoveries of post-impressionism and the energetic abstraction of neo-expressionism, he creates his version of the Sublime in contemporary painting. In his large-format canvases, the artist expresses the essence of the vital as the Sublime, metaphysical and mental principles with the help of rich color and sharp juxtaposi- tion of abstract and natural forms.
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Paić, Žarko. "Knjiga za zombije. O programiranoj budućnosti i pisanju bez posljednje svrhe." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 173–89. http://dx.doi.org/10.14746/pss.2019.17.12.
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The article deals with the analysis of the relationship between art, literature, and democracy, starting with the interpretation of Deleuzeʼs reading of D.H. Lawrence, Apocalypse. It is shown that in the contemporary world we are faced with a radical turn of knowledge, values and ways of thinking. Instead of the word prophecy, the act becomes a vision of transparency that has its most powerful means in the logic of mass media interaction. Hence the image that precedes the world has the potential for transforming the idea of the Book into a post-apocalyptic era of visualization of objects. With the help of Deleuzeʼs concepts such as multitude, difference and becoming, the article focuses on the criticism of the democratic emptiness of the world from which the secret has disappeared, and there has been only writing for survivors, the Book for Zombies. Is this a metaphysical testament at the time when writing has nothing more to do with the reference framework of modern art, when a change in the society could still set goals and tasks?
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McQuillan, J. Colin. "The Science of Aesthetics, the Critique of Taste, and the Philosophy of Art." Aesthetic Investigations 4, no. 2 (September 6, 2021): 144–62. http://dx.doi.org/10.58519/aesthinv.v4i2.11912.
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Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues (distinguishing works of art from other kinds of things), epistemic problems (the experience of beauty, the standards of critical judgment), and questions of value (the difference between good and bad taste). This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy of art in German philosophy during the eighteenth and early nineteenth century. By reconstructing the history of these debates, I hope to shed new light on the origins of aesthetics as a discipline and to explain why its subject matter and status within philosophy are still so difficult to define.
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Chepelyk, Oksana. "Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years." Contemporary Art, no. 17 (November 30, 2021): 23–40. http://dx.doi.org/10.31500/2309-8813.17.2021.248423.
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The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.
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Watson, Stephen H. "ADORNO, GADAMER, THE WORK OF ART AND THE RETRIEVAL OF THE SACRED." Síntese: Revista de Filosofia 47, no. 149 (December 20, 2020): 693. http://dx.doi.org/10.20911/21769389v47n149p693/2020.
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This paper considers the significant role the sacred played in Hans-Georg Gadamer and Theodor Adorno’s theories of post Enlightenment rationality and experience. While these thinkers are typically thought to be at odds with one another, on this topic, as will become evident, their work remained proximate: both appealed at crucial points to theological models, somewhat controversially, to combat the limitations of strict methodological accounts of their rational. This paper first traces their mutual reliance in this endeavor upon Kantian and post- -Kantian accounts of aesthetics, which imported classical metaphysical notions of Truth, Beauty, and the Good into their accounts. Against this backdrop, I trace how Gadamer and Adorno employed theological models to articulate accounts of the poverty of contemporary experience and theory, affording possibilities for its reinterpretation. Thereby, both viewed the sacred as a still not exhausted critical reserve in our rational history, one that extends beyond the constraints of Enlightenment, precisely in posing the critical question of tradition itself: the question, as Adorno put it, of how “a thinking obliged to relinquish tradition might preserve and transform tradition.”
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Salem Qatawneh, Mohammad Abdelhamid. "Reflections of Faith (‘Aqidah) on Arts: A Comparative Analytical Study on Islamic and Western Arts." Jurnal Akidah & Pemikiran Islam 23, no. 1 (June 30, 2021): 251–78. http://dx.doi.org/10.22452/afkar.vol23no1.7.
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The study attempts to explore the philosophical, intellectual view of Islamic art that is based on monotheism (tawhīd), and the reflections of ‘aqīdah on it. The study foundationally examines and compares the structures of art within Western mindsets, which stem from pagan embodiments, such as the Greeks and contemporary Darwinism. The study also comes to respond to those who claim that Islamic art stands at the limits of ornamental decorations, or that Islamic art is nothing but a progression of Hellenistic Roman art. The analytical method was employed to examine intellectual texts and their reflections on art in its applied form. A comparative approach is also used in comparing concepts from the Islamic ‘Aqīdah with other theologies and their reflections on art. This study concluded that Islamic art stems from the spirit of tawhīd, consistent with the harmony and oneness of existence. Additionally, Islam was found to be a liberation for art, as it puts artists in the position of choice rather than restricting them in a specific artistic formula as in other ideologies. On the other hand, the study also reveals that the epistemological theory of Western art emerges from a pagan ground or an atheist thought, since it is unable to comprehend the metaphysical world. As a result, nature has entered the list of ‘sanctities’ in the perception of some of the Greek artists and philosophers, which in turn reflected on the purpose of art and its aesthetic role in existence.
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Jassim Hassan Al Bayati, Sahib, and Safaa Salah Rashid. "The image of the soldier in contemporary Iraqi painting." Al-Academy, no. 106 (December 15, 2022): 187–204. http://dx.doi.org/10.35560/jcofarts106/187-204.
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The research tagged (the image of the soldier in contemporary Iraqi painting) dealt with the concept of the image as one of the basic concepts in the creative achievement, whether it is in the field of art, literature or beauty. Therefore, the concept of the image expanded to express the various aspects of human creativity, including the field of painting. To know the image of the soldier in contemporary Iraqi painting, the research included four chapters. The first chapter focused on the methodological framework of the research, while the second chapter included three sections. The first topic dealt with the philosophical and artistic concept of the image. The second topic was concerned with the representations of the soldier's image in modern painting, while the third topic dealt with the characteristics of the soldier's image in Iraqi painting.The third chapter was devoted to research procedures. In order to achieve the goal of the research, a number of results were reached in the fourth chapter, including:1- The imaginary image of the soldier appeared through a visual scene that combined different times and places in one space, as Alaa Bashir relied on the combination of the two aerial perspectives (or the so-called bird’s eye), and the ground according to metaphysical philosophy, which aims to transform the world and things into imaginary visions. Where the idea transcends the reality. (model 1)2- The realistic sensory image of the soldier was shown by the colors and their poetic effects on the influences and suggestive codes carried by the color, and the depth of the spirit of originality mixed with heritage, which makes us feel belonging, authenticity and national identity, defined by the priorities of the sensible and what is aesthetically perceived. (Model 2)1- The figurative image is one of the images that arise in the art of painting, and it witnesses an intense presence in the context of the significance of the image and the referral to a mental conception through concepts abstracted from its sensory image.2- The imaginary image in art witnesses a moral dimension regarding the mind’s retrieval of things abroad, and building them in a way that reveals new relationships that were not realized before.3- According to mental images, images are manifested in art within the limits of the work of knowledge and mental awareness. Images are formed when the mind is the repository, as the analyzer and compound of the meanings of things outside.4- The sensory image in art works on dismantling reality by relying on simulation, as imagination works in it to depict the moral abstract in a sensual way, relying on experience as a source of all knowledge and its domain is the mind
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Bharadwaj, S. "Dylan Thomas’s “In Country Sleep”: His Paradoxical Sensibility." Studies in Linguistics and Literature 4, no. 4 (September 9, 2020): p12. http://dx.doi.org/10.22158/sll.v4n4p12.
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In “In Country Sleep”, Dylan Thomas offers the Yeatsian paradoxical sensibility, the process of magnanimous impersonal art as salvation to the tumultuous Auden who condescends to the mortal levelling charges of conspiracy, war mongering, tilting and toppling against him as his performance as an artist of Yeatsian pagan altruistic art songs has undone his success, popularity and appeal among the contemporary poets. Auden, despite the loss of his grandeur, continues with the Eliotian metaphysical process of aesthetic amoral art song that has made him great in the early phase. The time-conscious political poets of the thirties, while heading towards the romantic ideals of their early phase, mounts up their rage against Thomas for his deviation in the later art songs from his early poems of pity. The young Movement poets commend Auden’s early poem for the parable of pure poetry and aesthetic success and defends his avenging move against Thomas. The introductory poem implies that it is Thomas’s introspective process of individuation and integration, coherence and co-existence, his paradoxical sensibility, his tragi-comic vision of Grecian altruistic art song that guards his sober and benign functioning as an ardent emulator of the pagan altruistic tradition of Hardy, Yeats, Houseman and Blake, as a poet of reconciliation, harmonization and cosmopolitan culture analogous to his functioning in the early poem 18 Poems.
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Braga, Corin. "Distant Theory in Comparative Literary Studies." Theory in Action 15, no. 2 (April 30, 2022): 32–48. http://dx.doi.org/10.3798/tia.1937-0237.2210.
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In this paper I want to propose a hermeneutical approach that I call “distant theory”. I start from the premise that mythology, literature and art, especially antique, medieval and early modern, in order to be fully comprehended need a reconstruction of the respective visions of the world and of human nature in which they were created and read by their public. This is also true for modern and contemporary works, but while pre-modern metaphysical and anthropological systems have been acculturated and are no longer in use, current systems, belonging to the scientific “vulgate” of our days, are spontaneously endorsed and accepted by literary and art critics as valid and true. I call this unquestionable use by commentators of cosmological and psychological theories “close theory”. In contrast, in order to avoid anachronistic mismatching of works belonging to a certain historical cultural paradigm with methods deriving from other paradigms, I propose an approach in which all ontological and psychological systems, be they antique or present, should be considered mere intellectual artefacts, “master narratives”, dependent on their respective epochs. This relativistic attitude would allow a “distant approach” especially to nowadays theories, freeing the literary and art analysts of the task of having to certify themselves theories that belong to other domains.
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Pękala, Teresa. "Syndrom ciągłości i nieciągłości." Przegląd Kulturoznawczy, no. 3 (49) (2021): 581–98. http://dx.doi.org/10.4467/10.4467/20843860pk.21.040.14360.
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The Syndrome of Continuity and Discontinuity The article discusses the problem of understanding changes in modern art as “the syndrome of continuity and discontinuity”. The term was used by Stefan Morawski in describing relationships between the avant-garde and neo-avant-garde. The author poses the thesis that this model of thinking is characteristic of the history of art in the modern period and analyzes its sources and consequences using the example of Morawski’s concept. The first part of the study discusses selected themes in Morawski’s scholarly achievement that characterize it as the thought entangled in the pitfalls of the discourse of modernity whose weaknesses the esthetician notices or sometimes even stigmatizes but which he does not want or is unable to give up. Both the avant-garde formations and postmodernism were treated as symptoms of the crisis of Western culture, which is why taking a stance on the violation of the existing boundaries of art and on understanding its function was a form of declaration of a world-view attitude. Another part of the article focuses on analytical categories such as ‘boundary’, ‘identity thinking’, ‘space between’, or ‘otherness.’ The reflections are conducted in the context of contemporary theories that point out the weakening of metaphysical thinking.
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Pękala, Teresa. "Syndrom ciągłości i nieciągłości." Przegląd Kulturoznawczy, no. 3 (49) (2021): 581–98. http://dx.doi.org/10.4467/20843860pk.21.040.14360.
Full textAbstract:
The Syndrome of Continuity and Discontinuity The article discusses the problem of understanding changes in modern art as “the syndrome of continuity and discontinuity”. The term was used by Stefan Morawski in describing relationships between the avant-garde and neo-avant-garde. The author poses the thesis that this model of thinking is characteristic of the history of art in the modern period and analyzes its sources and consequences using the example of Morawski’s concept. The first part of the study discusses selected themes in Morawski’s scholarly achievement that characterize it as the thought entangled in the pitfalls of the discourse of modernity whose weaknesses the esthetician notices or sometimes even stigmatizes but which he does not want or is unable to give up. Both the avant-garde formations and postmodernism were treated as symptoms of the crisis of Western culture, which is why taking a stance on the violation of the existing boundaries of art and on understanding its function was a form of declaration of a world-view attitude. Another part of the article focuses on analytical categories such as ‘boundary’, ‘identity thinking’, ‘space between’, or ‘otherness.’ The reflections are conducted in the context of contemporary theories that point out the weakening of metaphysical thinking.
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MARKOV, ALEXANDER. "ARMENIAN MINIATURE BY IGOR BURIKHIN: EKPHRASTIC PHONETIC SYNECDOCHE." Культурный код, no. 2021-3 (2021): 40–49. http://dx.doi.org/10.36945/2658-3852-2021-3-40-49.
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In this work, for the first time, the poetic and artistic work of Igor Burikhin is defined as a system of interventions associated with a religious and philosophical understanding of the link between word and image. The purpose of the study is to prove the specifics of these interventions taking an ekphrasis as an argument. Igor Burikhin's poem, dedicated to the reproduction of a medieval Armenian miniature on a souvenir card, is not limited to thinking about a plot or a period, but is a part of the program for introducing a new metaphysical art from visual media to the logic of statements. The contextualization of this ekphrasis, related to the ideas of the renewed avant-garde and the new age devotion, makes it possible to explain the features of the project of this transgressive use of religiously contextualized image. I prove that the idea of reactualization of medieval art was equally poetic and pictorial, as an attempt to make another version of conceptual art, where Armenia and Jerusalem become loci that reconcile the imaginary and the real, and the artist's action was understood both as critical to traditional forms of devotion and as affirming a new spiritual experience. I introduce the term ekphrastic phonetic synecdoche as basic for understanding ekphrasis in religious and philosophical Russian samizdat poetry. This study clarifies the role of the religious and philosophical program in the formation of new directions of contemporary Russian art.
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Emilia, C. "Art therapy with children surviving cancer used to relieve symptoms associated with death, loss and pain." European Psychiatry 64, S1 (April 2021): S682—S683. http://dx.doi.org/10.1192/j.eurpsy.2021.1809.
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IntroductionSince dying is inevitable, it is part of life, children need to be able to deal with the feelings and emotions associated withs death, loss and pain. When the grieven child move among the art modalities, he or she is able to deepen understaning of his or her lived experiences.ObjectivesOur aim is to uncover these new perspectives and sources of inspiration in order to advance in defining the importance of resilience in personal development.MethodsWe made use of the following techniques: ceramic, drawing, modeling, painting, assemblage of unconventional materials, multimedia techniques, animation. Performing artworks, artefacts, or using craft arts are test activities for art therapy and occupational therapy. „…Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. The most suitable territory for this partnership is that of the physical and metaphysical environment, provided by the installationist and shareholder arts.” [2] A medical project was transformed into an artistic project [4]ResultsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.ConclusionsGiven the diversity of non-verbal communication of the child, art therapy is not a simple accessory method in the therapeutic process of emotional disorders caused by grief of children, but a mandatory condition of it.DisclosureREFERENCES [1] Drăgan-Chirilă, Diana.(24-26.05 2018), Associate Professor Ph.D., University of Art and Design Cluj-Napoca, Romania, visual artist, Coordinator of the multimedia installation “Diagnostique” new media and multimedia performance instal
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Redondo, José Manuel. "The Celestial Imagination: Proclus the Philosopher on Theurgy." Culture and Cosmos 19, no. 1 and 2 (October 2015): 25–46. http://dx.doi.org/10.46472/cc.01219.0205.
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This paper focuses on Proclus’s On the hieratic art of the Greeks – considered as a contemporary philosophical problem – exploring some of its fundamental concepts and images, thus delineating Proclus’s notion of theurgy, which he primarily conceived as divine action manifesting in the union between a god and the theurgist, and only secondarily as a technique. These aesthetic experiments of thought or philosophical performances, by means of which a divine self is created, had deep metaphysical, cosmological, psychological, ethical, linguistic and even political and religious implications for Late Antiquity Platonism, and had a profound impact on the development of Renaissance philosophy and magic. Such practices are meant to be understood in the context of the philosophical paideia of which it represents its final stage and consummation; they are developed by intricate hermeneutics of a poetic theology operated by very sophisticated conceptions of symbol, analogy and the imagination, all of which are at the base of the celestial-terrestrial correspondences used by theurgists in their hymn singing.
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Emilia, C. "Implementing new digital options in education/ occupational/ play/ art therapy as tools for self-knowledge, self-managements, self-esteem." European Psychiatry 64, S1 (April 2021): S681—S682. http://dx.doi.org/10.1192/j.eurpsy.2021.1808.
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IntroductionThe purpose of art in art-therapy, in this context, is not an exercise of the already acquired knowledge upon the artistic material, but a discovery of the yet unknown. “Multimedia technology, which has evolved into meaningful visual representations, incorporates the science behind human perception and knowledge…Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. The most suitable territory for this partnership is that of the physical and metaphysical environment, provided by the installationist and shareholder arts.” [1].ObjectivesArt-based therapies, as nondirective methods, attempt to visualize past traumatic experiences and harmonize the individual with himself and with others.MethodsIn the preventive activities we include all activities involving nonverbal communication and holistic engagement. ”Beneficiaries can create their own images with which they want to interact, to arrange their environment…We experiment with art-specific ways to make interdisciplinary exchanges and cultural interferences using the universal language of visual arts along with intercultural elements and religious ecumenism … Sometimes, common themes with schools and higher education are addressed as an extra-curricular complement. Benefits are multiple, diverse and complex, appear on the paths that offer inter/pluri/transcultural learning opportunities and exchange of knowledge, making space and time connections between different cultures. [2]ResultsThe creative process and the interaction increases self esteem, courage, taking of risks, the learning of new skills.ConclusionsNew ideas, conceptions and ways of expression emerge, enriching the patient’s life according with the therapeutic purposes. [3].DisclosureREFERENCES [1] Chirila, Emilia (2011), PhD Thesis, Educaţie artistică şi art-terapie cu mijloace specifice ceramicii [Artistic Education and Art-therapy within the Specific Means of Ceramics], University of Art and Design, Cluj-Napoca, Romania, p. 390
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GLADDEN, MATTHEW E. "REVISITING INGARDEN’S THEORETICAL BIOLOGICAL ACCOUNTOF THE LITERARY WORK OF ART: IS THE COMPUTER GAME AN “ORGANISM”?" HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 640–61. http://dx.doi.org/10.21638/2226-5260-2020-9-2-640-661.
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From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare literary works to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated (yet interdependent) elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar.
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Emilia, C. "Implementing new digital options in education/ occupational/ play/ art therapy as tools for self-knowledge, self-managements, self-esteem." European Psychiatry 64, S1 (April 2021): S680—S681. http://dx.doi.org/10.1192/j.eurpsy.2021.1806.
Full textAbstract:
IntroductionThe purpose of art in art-therfic version of the “Regu the already acquired knowledge upon the artistic material, but a discovery of the yet unknown. “Multimedia technology, which has evolved into meaningful visual representations, incorporates the science behind human perception and knowledge…Contemporary visual arts bring together, in different degrees of relationship and fusion, fields of art that until now were understood and practiced more individually. The most suitable territory for this partnership is that of the physical and metaphysical environment, provided by the installationist and shareholder arts.” [1].ObjectivesArt-based therapies, as nondirective methods, attempt to visualize past traumatic experiences and harmonize the individual with himself and with others.MethodsIn the preventive activities we include all activities involving nonverbal communication and holistic engagement. ”Beneficiaries can create their own images with which they want to interact, to arrange their environment…We experiment with art-specific ways to make interdisciplinary exchanges and cultural interferences using the universal language of visual arts along with intercultural elements and religious ecumenism … Sometimes, common themes with schools and higher education are addressed as an extra-curricular complement. Benefits are multiple, diverse and complex, appear on the paths that offer inter/pluri/transcultural learning opportunities and exchange of knowledge, making space and time connections between different cultures. [2]ResultsThe creative process and the interaction increases self esteem, courage, taking of risks, the learning of new skills.ConclusionsNew ideas, conceptions and ways of expression emerge, enriching the patient’s life according with the therapeutic purposes. [3].DisclosureREFERENCES [1]. Drăgan-Chirilă, Diana.(24-26.05 2018), Associate Professor Ph.D., University of Art and Design, Cluj-Napoca, Romania, visual artist, Coordinator of the multimedia installation “Diagnostique” new media and
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Zamfir, Ioana. "Accuracy, veracity, and theological truth in the 16th century atlas <i>Theatrum Terrae Sanctae</i>." Proceedings of the ICA 4 (December 3, 2021): 1–5. http://dx.doi.org/10.5194/ica-proc-4-116-2021.
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Abstract. The characteristics and appearance of an authentic map (in conformity with reality), together with the convention about how authenticity should be obtained in a map, continued to change since the beginning of modern cartography along the centuries. As Critical Cartography has emphasised, the authenticity of a map was in many cases just a convincing appearance, hiding intricate ideologies. However, the political role of maps is just one aspect of their significance, which does not exclude the existence of genuine beliefs and ideals which were guiding cartographers and map authors in the creation process.With a long tradition of understanding maps as illustration devices, Renaissance geography blended intimately with the assumptions and debates of the artistic domain of painting. Among these, veracity was a much praised ideal, signifying the ability of the art work to make present the absent things or giving a new life to people or events gone long ago, a perspective which allowed for rich metaphysical implications. In his theological atlas Theatrum Terrae Sanctae, Christian Adrichom used a variety of formula through which he expressed his view on the evocative power of maps, deriving from contemporary theories concerning truth, vision and representation. In this article we will employ the textual analysis of Adrichom’s affirmations, approaching them through the filter of the Intellectual History methodology. This method allows us to discover that the author explored the metaphysical implications of painting realism in order to present and use his maps as Christian devices, equating the veracity of the cartographic medium with the authenticity of Christ’s life and with the theological understanding of truth.
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Starnawski, Bartłomiej. "Grotesque Possible Worlds." Tekstualia 1, no. 1 (January 2, 2013): 325–39. http://dx.doi.org/10.5604/01.3001.0013.6154.
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The author of the articles shows that the grotesque is one of the most interesting ways of diagnosing changes and crisis in the anthroposphere (as a continuation of thinking about the subject from the middle of the seventeenth century through to postmodernity). According to Thomas Mann, the grotesque is one the most active notions in contemporary art. Its productivity results from the subject’s tendency to self-fulfilment, self-cognition, and self-definition; it is an independent vision and position in the “me – the world”, “me – community” relations. The grotesque is a strongly philosophical proposition, which bases its discourse on a conscious protest against present values and on transgressing all limiting and oppressive conventions. Therefore, the grotesque enhances the status of the subject, but it neither defends nor affi rms the subject in a direct manner. Apart from the social dimension, the grotesque also has numerous metaphysical references, the expression of which can be found in Kierkegaardian understanding of the metaphysical crisis as despair. Facing piercing emptiness, the human being tries to find some support and resorts to anything only to make a leap into the future. Laughter is only a manifestation of horror vacui, a specific dialectic moment devoid of any prospect of purification or comfort. What dominates a grotesque work is its open structure. The motifs which shape the spatiotemporal order do not always form a cause-and-effect system. Deliberately incoherent themes (logical coherence is not an aim) seem to be rather “deconstructors”, not constructors of the plot; they are intermittent, provoke the impression of a secret, a gleam, the absurd.
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Duchliński, Piotr, and Agata Płazińska. "Metaphysical and Cultural Nature of Sacrifice in the Life and Death of E. Stein and S. Weil." Perspektywy Kultury 27, no. 4 (January 1, 2020): 13–40. http://dx.doi.org/10.35765/pk.2019.2704.03.
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The article explains the metaphysical, culture-making and creative act sacrificing one’s own life in the name of higher values. At the beginning we discuss the causes of a contemporary cultural crisis and the disappearance of metaphysical attitudes. We have formulated a thesis that the revival of metaphysics in contemporary culture can be grounded in the experience of metaphysical qualities that are present in heroic acts of offering one’s own life for another. The next step in our analysis was to identify the necessary and sufficient conditions for self-sacrifice, and then, on the examples of E. Stein and S. Weil, we show what the ultimate sacrifice of one’s own life is. Using the method of humanistic interpretation, we have reconstructed the descriptive and normative reasons which motivated the two women to their acts of self-sacrifice. And although Weil and Stein do not meet the criteria to be categorized as self-sacrifices, we have found that they indeed were ultimate sacrifices because they were directed towards the realization of the highest moral and religious ideals. Using the category of “metaphysical qualities” developed by the Polish phenomenologist Roman Ingarden, we proposed an interpretation in which the sacrificial act was interpreted as supererogation in which metaphysical qualities such as holiness, sublimity, etc. are phenomenologically present. Such an act also has a cultural-creative dimension, consisting in building a culture and civilization of life in which the value of the existence of another human being is a correlate of a metaphysical desire rather than biological and psychological needs. The thesis is that, contrary to the contemporary crisis in metaphysics and axiology, they are essential and irremovable elements of culture, without which it cannot grow properly.
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Lythberg, Billie, and Dan Hikuroa. "How Can We Know Wai-Horotiu—A Buried River? Cross-cultural Ethics and Civic Art." Environmental Ethics 42, no. 4 (2020): 373–90. http://dx.doi.org/10.5840/enviroethics202042434.
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The complex interactions and ruptures between contemporary settler colonialism, environmental ethics, and Indigenous rights and worldviews often emerge in projects of civil engineering. The continued capture, control and burial of natural water courses in Aotearoa-New Zealand is a case in point, and exemplifies a failure to stay abreast of evolving understandings and renewed relationships we seek with our waterways, our ancestors. Wai-Horotiu stream used to run down what is now Queen Street, the main road in Auckland, Aotearoa-New Zealand’s largest city. Treasured by Māori as a source of wai (water) and mahinga kai (food), it is also the home of Horotiu, a taniwha or ancestral guardian—a literal ‘freshwater body’. However, as Tāmaki-Makaurau transitioned into Auckland city, Wai-Horotiu became denigrated; used as an open sewer by early settlers before being buried alive in the colonial process. How, now, can we know this buried waterway? Te Awa Tupua Act 2017 that affords the Whanganui River juristic personality and moral considerability offers one possible solution. It acknowledges that waterways, incorporating all their physical and metaphysical elements, exist in existential interlinks with Māori as part of their whakapapa (genealogical networks). This paper asks, can a corresponding and appropriate ethics of association and care be fostered in and expressed by the political descendants of British settlers (Pākehā) and later immigrants who live here under the auspices established by Te Tiriti o Waitangi in 1840? Here is a conversation between a Māori earth systems scientist and a Pākehā interdisciplinary scholar. Where Hikuroa speaks from and to direct whakapapa connections, beginning with pepeha, Lythberg’s narrative springboards from public art projects that facilitate more ways of knowing Wai-Horotiu. Together, we contend that a regard for Indigenous relationships with water can guide best practice for us all, and propose that creative practices can play a role in attaching people to place, and to waterways.
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Podgornov, Vadim Vladimirovich, Yuliya Aleksandrovna Makarova, Lyudmila Aleksandrovna Belova, and Elena Aleksandrovna Shamrova. "Dialogue in the Cognitive Process: History and Modernity." Development of education, no. 4 (6) (December 18, 2019): 46–49. http://dx.doi.org/10.31483/r-63825.
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The article deals with the concept of dialogue as a method of traditional cognition and a consistent semiotic instrumental expression of human culture, which explores the systems and ways of social communication in the society. The article focuses on dialogue as a special form of a cognitive process and mediation, having its distinct features, analyzed when the individual is included in many systems of sociocultural interaction at the level of functional integrity. Along with comparative and descriptive approaches, analytic and dialectic methods have been used. The significance of two historical stages of dialogue development as a method of cognition has been analyzed, as well as their distinguishing characteristics and comparative relationship. The method belongs to a group of ritual methods organically related to the art of human self-change as a person. Each of these stages bears its own specific features related to the human genesis, ethics, communication and the metaphysical world. It can be concluded that in the contemporary world, dialogue fully reflects the peculiarities of communication of presence, as well as the value principles of social perception of time and space in the context of the symbolic model of mediareality, which in turn is changing the typology, interests and character of the modern subject. The prospects for development of the phenomenon are also related to the semiotic ideas about the nature of a human, their conceptual apparatus and functional load in the symbolic organization of mental activity as such. Being under the control of consciousness of communicative strategies implies a controlling role of the worldview in relation to them.
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Dombrauskene, Galina Nikolaevna, and Dmitrii Nikolaevich Bolotin. "Philosophical and astronomical image of space in E. Artemiev’s music for A. Tarkovsky’s “Solaris”." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 20–44. http://dx.doi.org/10.7256/2453-613x.2020.6.33661.
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The authors attempt to reveal the internal interconnection of a traditional mythologem of space with the ideas of a modern astronomical reality in the music by E. Artemiev written for A. Tarkovsky’s movie “Solaris”. The mythologem of space gained its features back within the ancient worldview and formed a sort of a semiotic complex which can be considered as a combination of various symbols connected with basic natural forces, basic forms and numbers. This mythologem was embodied in various art forms, including the music of various historical epochs. Surprisingly, in contemporary culture, which has much wider knowledge of physical (astronomical) space, the ancient ideas of microcosm and macrocosm are still functioning, along with the medieval religious ideas of eternity, metaphysical searches for new spirituality, the divine-humanity of cosmism adherents, etc. Based on M.M. Bakhtin’s concept of chronotope, the authors develop the model of chronotope analysis represented in the form of a table (G. N. Dombruaskene) which allows considering the movie within a vector space, in which the main vectors - the two basic directions - are the chronometry and the chronotope. The table format demonstrates the semantic moments related to space which emerge at the crossing of the three key parameters of the movie: verbal, visual and musical. The full chronotropic, semiotic and computer-based analysis with the sonograms of music examples (D.N. Bolotin) helps to reveal in each space-related fragment of the movie the music and artistic means of expression of its philosophical and astronomical characteristics.
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Tkachenko, Roman. "Mykola Bidenko’s poetry: typology and idiography." Synopsis: Text Context Media 27, no. 1 (2021): 1–6. http://dx.doi.org/10.28925/2311-259x.2021.1.1.
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The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.
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Poznin, Vitaly F. "RUSSIAN ARTHOUSE FILMS OF THE EARLY XXI CENTURY: FEATURES OF ARTISTIC STYLE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 109–23. http://dx.doi.org/10.17223/22220836/42/10.
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Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.
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Bilyk, Nataliia L. "CONTEXTUAL DIMENSIONS OF M. PRODANOVYCH`S NOVELS POETICS." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 69–81. http://dx.doi.org/10.32342/2523-4463-2021-2-22-6.
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One of the most original figures in modern Serbian literature is Mileta Prodanovic ‒ an artist, art critic, writer, winner of international awards in the field of literature. The expressive diversity of M. Prodanovich`s works draws special attention to all effective indicative aspects. The context of the activity of creative figures is traditionally considered to be a separate inalienable fruitful plan of their coverage. The contextual cultural process of the last quarter of the twentieth century, in line with which M. Prodanovich`s work developed, has acquired the definition of the postmodern era. Analytical systematization of contextual factors and their artistic reflexes in the artist's prose need additional coverage. Accordingly, it is important to express the context (marked by the manifestations of postmodernism) of the formation of the creative worldview and to determine the priorities of the figurative language of the contemporary Serbian artist. The aim of this article is to focus on the postmodern dimensions of certain types of Serbian national art and in particular literature, contextual for the prose work of M. Prodanovic, with regard to the poetics of the artist. The study is based on the performance of comparative-historical and genetic-typological methods in combination with structural analysis and cultural semiotic approach. M. Prodanovic`s work has not only a chronological connection with the era and the concept of postmodernism in Serbian literature. Already in the early stages of artistic activity, in the early eighties, when postmodernism was a new theme, the conceptual core of his work was centered precisely in connection with its landmarks. Accordingly, a special purposeful concretization of the definitive features of the national-mental adaptation of the ideology of postmodernism in Serbia acquires special significance. These are the fundamental conceptual features of postmodernism, which in the stream of postmodern philosophy demonstrate its meaning of the eclectic movement, focused on an alternative approach to the world, aimed at the concepts of methodology of phenomenology, structuralism and existentialism. A number of developmental conceptual solutions relevant to the contextual interaction of the postmodern worldview with the literary process are contained in the empirical experience of artistic creation in general. In its vein, one of the programme items for the correlation of the art poetics with the concept of postmodernism is the experience of architecture. At the same time, there has been an active figurative expansion of postmodernist solutions in the fine arts since the mid-1960s. And the literary process, particularly in the Serbian national format, was strongly influenced by the ideology of postmodernism. Thus, the defining contextual dimension of M. Prodanovic`s creative credo is formed by (thoroughly revealed in the Serbian national fine arts and in the literary process) classical conceptual principles of postmodernism, the manifestations of which are natural for the poetics of the artist's prose and testify to the writer's creative reactions to the signs of various forms of postmodern poetics. In their perspective in terms of semantics of M. Prodanovich`s novels it becomes more contrasting illustrative for the context disclosure of cognition of the world, the metaphysical basis of civilization through atypical for this context inexhaustible potential for humanistic solution of universal philosophical questions of existence, with recognition of its essential importance in explication of the special author`s experience in the art of word.
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Bhatt, Chetan. "White Extinction: Metaphysical Elements of Contemporary Western Fascism." Theory, Culture & Society 38, no. 1 (June 23, 2020): 27–52. http://dx.doi.org/10.1177/0263276420925523.
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The Euro-American far-right represents a highly diverse political movement comprising numerous ideological tendencies. It includes the European New Right, the US ‘alt-right’ and ‘alt-lite’, far-right accelerationism, traditionalism, and new forms of political misogyny. Despite the diversity in ideas and activities, this article argues that an overarching theme of the ‘fear of white extinction’ travels across and animates each major contemporary far-right tendency. The article explores a variety of older and contemporary metaphysical themes that are deployed in contemporary fascism. These include new configurations of racism, occultist ideas of nature and vitalism, the rendering of culture and civilization in ‘biocultural’ and ‘anthropological’ terms, and ideas about cosmic destiny. The article considers how older ideas from Nietzsche, Schopenhauer, Hans Günther, Ludwig Klages, Arnold Gehlen and others are mobilized in contemporary fascism to generate a critique of liberal modernity, one which leads remorselessly to a logic of white supremacy and apocalyptic violence.
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Gilbert, Paul. "OS CAMINHOS DA METAFÍSICA: DA EPISTEMOLOGIA À ETICA: IDA-E-VOLTA." Síntese: Revista de Filosofia 35, no. 112 (April 13, 2010): 189. http://dx.doi.org/10.20911/21769389v35n112p189-210/2008.
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A reflexão fundamental contemporânea, metafísica, parece ter mudado de paradigma. A metafísica chamada “clássica” se consagrava às questões da fundamentação do saber. Era mais uma epistemologia dos conhecimentos que ultrapassam a física, mantendo laços com ela, do que uma verdadeira metafísica, um discurso que rompe com as condições próprias da física. Aliás, todo discurso, inclusive o da física, é operatório. A metafísica contemporânea presta atenção aos atos operatórios do espírito humano, à sua performatividade. A primeira parte do artigo vai assim das representações determinadas ou científicas do saber ao ato que é interior a todo saber e cuja estrutura não ignora certa passividade, a acolhida do que é. A segunda parte do artigo, inspirando-se na fenomenologia contemporânea, passa, em seguida, do ato assim descrito e essencialmente ético a uma compreensão renovada do evento (ou do real) enquanto tal.Abastract: The paradigm of contemporary metaphysical reflection seems to have changed. The so called “classical” metaphysics dealt with the groundings of knowledge; it was more an epistemology of the knowledge that went beyond physics, although it kept a strong relationship with it, than a true meta-physics, that is, a discourse breaking with the conditions of physics. Moreover, all discourses, including that of physics, are operatory. Contemporary metaphysics is attentive to the operatory acts of the human mind and to their performativity. The first part of this paper will thus go from the determined or scientific representations of knowledge to the act within all knowledge whose structure contains an element of passivity: the reception of what is. The second part, inspired by contemporary phenomenology, will go from the act described above, which is essentially ethical, to a renewed understanding of the event (or of reality) as such.
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Spitzer, Robert J. "A Contemporary Metaphysical Proof for the Existence of God." International Philosophical Quarterly 59, no. 4 (2019): 427–66. http://dx.doi.org/10.5840/ipq2019594143.
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This five-step metaphysical proof borrows from the metaphysical thought of Aquinas as well as from Bernard Lonergan’s proof of God in Insight. It makes several advances to proofs of God. Most importantly, by showing that an unconditioned (uncaused) reality must be unrestrictedly intelligible, the second step of the proof is original and lays a stronger foundation than previous proofs for the uniqueness of an unconditioned reality as well as its identification with an unrestricted act of thinking. This point strengthens the argument that this unique reality is a creator of everything else in reality. In so doing, it responds to contemporary criticisms of proofs of God by Richard Dawkins and others. This proof also adapts metaphysical ideas and terms to those arising out of the contemporary scientific world view, so that it is relevant and applicable to quantum and relativity theory, quantum cosmology, and other contemporary cosmological ideas, such as a multiverse and multidimensional physical realities.
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Abbasova, Sadagat. "THE CHARACTERISTICS AND APPROACHES OF IMMANENCE CRITICISM IN DORIS LESSING’S NOVEL OF “THE GOLDEN NOTEBOOK”." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 6–10. http://dx.doi.org/10.36719/2663-4619/63/6-10.
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Unlike the XIX century, literary culture of the XX century made a strong aesthetic leap in women’s identity. This process has caused to the emergence of a large number of new generation women writers in world literature and moreover, these writers had succeeded in revealing a real and contemporary literary phenomenon, such as “immanence- immanentism” which is focused on female landscapes in their stories and novels. In general, the works of “immanence” authors have a feminist background. As a doctrine, imamnence is used to explain the connection with the spiritual world, which is confirmed by some philosophical and metaphysical theories and critics. But later, immanence was replaced by Kant as a philosophical concept, and this awareness began to include a philosophical disposition perceived by the senses on the basis of personal experience. Lessing, who donated many works to world culture, created a portrait of the physical and spiritual characteristics of people (especially women) with her strong logic and talent in all her stories and novels and tried to explain in detail the special feelings that exist in them. With the help of this concept, Lessing aimed not only to represent the love experiences and emotional vibrations of women in her novels, but also to present a strong and courageous woman in a socio-cultural and political context, unlike female literature. In this paper is discussed, the feature elements of immanent culture in Doris Lessing’s novel in (“The Golden Notebook”). In the novel, Lessing interprets the classic drama of a woman of art who is free ones like as herself and in their examples, examines the potential and profiles of creative women seeking their place in social society. In her works, Doris Lessing reproduces the female perspective in the universe by thinking from the prism of immanentism and pays particular attention to the psychology of female characters and the identification of their inner states of heroes. Based on all of these, the author also refers to the expanding principle of women sovereignty regarding the rights and the status of women in society. At the same time, Lessing also explores the possibility of a relationship based on the concept of mundane reality as an alternative to romantic love parodies of postmodernism, and with this in mind, she erects a “protective wall” against the expansion of the “Western world” in Rhodesia (Zimbabwe). Key words: existence, immanence, Sufism, "The Golden Notebook", socio-cultural
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Bilokobylskyi, Oleksandr V., and Victor S. Levytskyy. "Ontological Horizons of Ethical or How Deep is the Crisis of Contemporary Ethics." Voprosy Filosofii, no. 7 (2022): 27–38. http://dx.doi.org/10.21146/0042-8744-2022-7-27-38.
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The article analyzes the anomalies observed in various spheres of modern culture, which are interpreted as “ethical failures” and the rejection of the fundamental principles of Western ethics: the principle of justice, fidelity to a given word, striving for the common good, etc. Taking into account the totality of these failures in the sense of “horizontal” and “vertical” prevalence, it is suggested that there are deep ontological changes that entail transformations in the field of ethics. This thesis is substantiated by an analysis of the structure of an ethical act, which allows us to single out levels of “public” and “ontological” expertise in it, and to see in the ethical act itself a way of establishing “transcendent” (unobservable, absent in the empirical dimension) objects and layers of social reality. Ethics in this case is (by itself) a sphere of ontological creation, a way of establishing legitimate configurations, boundaries and goals of social action, including the social identity and subjectivity of individuals. The need to preserve one’s own self and the ability to act meaningfully is considered in the article as the ultimate basis of human social activity and a source of “ethical energy”, which, without external coercion, determines a person to ethical action. Existential involvement in ontological and ethical action determines a close connection between ethics and metaphysics, which is traced in the article on the basis of the most important philosophical concepts and ethnographic material. It is concluded that the cultural transformations analyzed in the article are associated with the use of constructivist impact on the ontological intuitions of Western culture, which, however, do not affect its metaphysical core, and thus only threaten the peripheral layers of Western ontology.
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Beaver, Aaron. "Derzhavin's Metaphysics of Morality." Slavic Review 66, no. 2 (2007): 189–210. http://dx.doi.org/10.2307/20060217.
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In this essay, Aaron Beaver argues that the poetry of Gavrila Derzhavin routinely and consistently connects metaphysical beliefs with moral ones, and that, at its most sophisticated, this connection amounts to a full “metaphysics of morality” much like that developed by Derzhavin's contemporary, the philosopher Immanuel Kant. Beaver begins by exploring Derzhavin's belief in the immortality of virtue; he then examines how Derzhavin's famous monument poems assert the poet's immortality because he verbally pays tribute to those who are virtuous; finally he analyzes Derzhavin's 1797 poem “Bessmertie dushi,” in which the poet realizes the connection between the immortality of the soul and morality. The latter part of the article examines Derzhavin's poetic expression of this connection in light of Kant's two postulates of the moral law—the immortality of the soul and the existence of God—and finds that Derzhavin's poetry expresses a similar position with genuine philosophical rigor.
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Mironova, Tatiana. "Metaphysics of postmodern figurative art in Ukrainian art of the late XX - early XXI century." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 37–42. http://dx.doi.org/10.32461/2226-2180.39.2021.238678.
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The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The integrative approach has enabled research in new forms of visualization of modern artistic language, which combines informational and aesthetic functions. Due to the revealed changes, traditional images are visualized with the help of a new artistic language, which does not correspond to the traditional meanings of the artistic image. The scientific novelty of the work lies in understanding the metaphysics of postmodern figurative art in contemporary Ukrainian art. A characteristic feature of the development of modern culture is the rapid social transformation, covering all areas of human activity. For the structure of art, the nature of which is due to constant change and renewal, the problem of the relationship between tradition and innovation is important. Thus, contemporary artists in their figurative, non-figurative and conceptual practices use the memory of artistic culture and artistic traditions as a mediator between the past and the present. Ukrainian art practitioners build a multiple and diverse artistic and image system based on the mechanism of interaction of traditions and innovations, involvement in the creative process of specific stylistic combinations of past and present, and reflection on cultural realities. Conclusions. Ukrainian culture is being revived in the following main directions: the process of self-consciousness and the formation of national historical memory has intensified, and the vector of development of social consciousness has been determined. Also, due to the weakening of totalitarian control, upgraded ideological and spiritual social norms. In the context of freer cultural development, artists use simple and clear images in various unusual contexts, often visualizing the determinants of the renewal of the collective consciousness. At the same time, the entry of domestic art into the world art arena meant the urgent need for rapid change in all spheres of art. This speed led to a number of complex problematic issues related to the difficult interaction of traditions and innovations, as well as folk and classical in contemporary art, determined the formation of a new series of images.
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Ośko, Krzysztof. "The Metaphysical Argument for God’s Existence." Roczniki Filozoficzne 67, no. 4 (December 23, 2019): 53–69. http://dx.doi.org/10.18290/rf.2019.67.4-3.
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In this paper, I present main theses of Aquinas Way to God: The Proof in the De Ente et Essentia by Gaven Kerr. The book in question is a contemporary interpretation and defence of Thomas Aquinas’s argument for the existence of God, based on the real distinction between the essence of the thing and its act of being. I stress the fact that Kerr underlines the metaphysical character of Thomas’s argument and the role of participation in Aquinas’s understanding of the act of being. In the last part of the article, I discuss Kerr’s interpretation of Aquinas’s argument for the real distinction between essence and an act of being, as well as Kerr’s own argument. These arguments are of particular importance since they provide metaphysical presuppositions for the argument for God’s existence considered in Kerr’s book. As for the first argument, I argue that the first part of Aquinas’s argumentation (the so-called Intellectus Essentiae Argument) pertains to the real order rather than conceptual. Concerning the second argument, I attempt to highlight the difficulties of Kerr’s understanding of Thomist esse as a principle of the existence of a thing.