Having in mind the concept of poiesis, as Paul Valéry uses it, time and movement are presented as concepts produced within the project of understanding the natural world. From the idea of philosophy as a way of constructing through concepts the intelligibility of phenomena, I will show the coherence between the construction of the concept of time and that of the concept of movement.

Con el libro "Poiesis Educativa", la Fundacion Universitaria de Derecho, Administracion y Politica, S.C. Editorial, da comienzo a la coleccion FUNDAp - Educacion, cuyo proposito fundamental es acoger las creaciones de los estudiosos de la educacion desde sus diversos campos y ambitos de desenvolvimiento. Es un libro que desde el titulo nos propone, nos inquieta, nos reta. La autora expone en el su preocupacion por el hecho de que la conceptualizacion actual de la educacion reduce y socaba a esta, (...) en su empeno economicista y politicista de epistemologizar la educacion. (shrink)

I try to show that Aristotle does not restrict 'praxis' to those activities which have their end in themselves. NE VI 5, 1140b6-7 need not to be taken as an argument in favour of the restricted interpretation: the wording of the passage is compatible with the interpretation that the end of a praxis is (another) praxis (e.g. eupraxia), the end of a poiesis on the other hand is never a poiesis. This interpretation fits better the use of 'praxis' (...) throughout the NE. MM A 34, 1197a4-12 is discarded since the MM is not written by Aristotle. Next I discuss the relation between the verbs 'prattein' and 'poiein' on the one hand and the corresponding nouns 'poiesis' and 'praxis' on the other, in order to determine their exact meaning. To conclude, Aristotle's distinctions are compared to certain tenets of H. Arendt in her 'Vita Activa'. (shrink)

Das 17. Jahrhundert ist beherrscht von der Maschine. Sie dominiert als technische Konstruktion die Theorien und Praxen der wissenschaftlichen Revolution und bedingt entscheidend den Aufstieg der empirischen Wissenschaften. Als Metapher hat sie Erklärungskraft für barocke Modelle von Welt und Mensch, von Körper und Geist; bildlich repräsentiert sie kulturelle und natürliche, weltliche und religiöse Prozesse. Auch Literatur und Theater sind nicht ohne Maschinen zu denken. Darum geht es in diesem Buch: um die polyfunktionale Figur der Maschine in Bezug auf theater- und (...) literaturästhetische Diskurse und Performanzen. Denn Maschinen haben im rationalistisch-mechanistischen Barockzeitalter nicht nur philosophischen Erklärungswert - sie besitzen zugleich Generierungspotenzial: das Potenzial, Neues und Anderes, Mögliches und Unmögliches zu generieren. Die Poiesis der Maschine in der barocken Theater- und Literaturästhetik steht zur Diskussion. Vorgestellt werden zwei zentrale poietische Prozesse: Die Maschine generiert literarisch-theatrale Möglichkeitsräume auf der Bühne und im Buch. Zum einen setzt die Theatermaschine die barocke Ästhetik des Spektakulären um, gesteigert in der maschinellen Theatralisierung der Welt im Rahmen des barocken Festes. Zum anderen inszeniert die Maschinenliteratur Technikutopien auf der Schnittstelle zwischen Wirklichkeit und utopisch-visionärer Möglichkeit – und steht damit für das noch nicht diversifizierte literarische System der Frühen Neuzeit ein. Den Hauptteil des Buchs bildet ein Repertorium, welches die Werkgruppe der "Theatra Machinarum" erstmals systematisch erfasst: gedruckte, ein- oder mehrbändige Technikschaubücher vom 16. bis 18. Jahrhundert, die reale und imaginierte Maschinen in Bild und Text präsentieren und sich, häufig durch einen theatermetaphorischen Titel, als Inszenierungen von Wissen auf einer Bühne ausstellen. (shrink)

Reacting against the turn to transcendence that heavily characterized the medieval worldview, the modern worldview is fundamentally exemplified by a threefold turn to immanence, consisting of a subjective turn, a linguistic turn and an experiential turn. Language plays a pivotal role here since it mediates between the subjective and the experiential. Ricoeur’s treatment of metaphor, significantly laid out in his The Rule of Metaphor, is crucial in bringing about this linguistic turn that mediates the subject and its experience of the (...) world. Through an analysis of “seeing as” as a poietic reconfiguration of reality in the subject’s experience, language transforms and founds the world as a “being as.” What is disclosed in this interpretative transformation of reality is not simply an hermeneutical ontology but possibly—also through language—an hermeneutical axiology. (shrink)

At its core, this study understands its central term, poiesis as the process of forming new styles of sense-making and multiple modes of thought. Such plural styles deserve notice so far as they give readers alternate ways of organizing experience and interpersonal relations: they provide new worlds, in fact. The epithet "New-world" poiesis, then, is in one respect redundant, since new worlds are revealed through the "poetic" process itself. But the title also refers to current and past historical (...) encounters between an "old-world" Anglo-American mindset and its "others"---encounters between worlds that over time have qualified, tested, strengthened, and fractured each other. ;Poets who generate and interweave new worlds provide a context for maintaining a central debate within discussions of complexity in contemporary U.S. poetics. Assuming that lyric poetry can reasonably be expected to represent and to some extent transform experiences and perceptions of reality, the question arises as to what kind of experiences and worlds should be represented and/or transformed. On one hand, critics find that the role of the contemporary lyric is expressive, that is, most suited to approaching the internal conscious states or the social conditions of a person or group. On the other hand, as a fragmentary, associative use of language, lyric poetry shows the workings of language itself, a system of meaning concerned mainly with its own, ongoing re-organization. ;This debate between poetic language as providing either coherence or change---a debate that currently enjoys critical esteem and claims an increasing amount of attention from critics, poets, and anthologists---assumes that as complexity increases in poetic experimentation, the capacity for the poem to represent social relations diminishes. Poems that examine the surface texture of language, its critics claim, dissolve most often into a "play of words." Gathered into rival camps that it seems could hardly disagree more radically, the terms of the argument appear in the form of a debate between social identity and complex meaning systems. ;Detailing more specific versions of this debate, my project investigates four intellectual environments into which plural-world poetries have introduced complex lyric treatments of experience in order to distort dominant, established views: subjecting historical; cultural; linguistic; and urban discussions to a "deep pluralism." What I've found is that in the richest instances, long lyric poems that provide plural worlds allow for both resonance and wonder, both coherent sources of personal expression or social affiliation and an ability to appreciate multiple styles and to move across identities and ways of naming the real. Each aspect to the other is usually said to be incommensurate, and yet, at the right level of abstraction, or plurality, meaningful social distinctions can be made with minimal exclusionary consequences. (shrink)

Technology extends human perception and it intervenes in relations to the environment. Life in cities is particularly affected by newest technological developments, and city dwellers are most shielded and disconnected from the natural world by these very same technologies. The term technology stems from the Greek techne, and it refers to an instrumental relation to the world—a manipulation and adaptation of the environment to human needs. However, by intervening in everyday life and modifying relations to the environment, technology also produces (...) new forms of life and is therefore also poetic in the sense of poiesis. It is clearly distinguished from literary works because it opens worlds of possibilities that are not fictional. This makes a reflection on its poeticity all the more urgent, because the large-scale advent of new technologies such as the industrialization or the digitization radically changes the modes of perception and relations to urban environments. Art works like literature absorb and articulate these changes and are therefore useful “strange tools” for putting on display the changing modes of experiencing cities. For instance, industrialization, explosive urban growth and the rapid modernization of cities overwhelmed the senses. In its very form and rhythm, modernist literature performs the fragmented and brisk-paced experience of modernity. The digital age ostensibly promises intelligibility and order, for digital technologies can survey and manage vast amounts of information. Smart cities are designed for this purpose and for offering tailored solutions to the inhabitants’ individual needs. However, data analytics cannot capture the phenomenological quality of lived experience. Art works can, and contemporary literary works put on display urban life-forms characterized by disembodiment and by exhaustive information on any subject that on its own does not translate into any sense of meaning or belonging. (shrink)

A groundbreaking conception of interactive media, inspired by continuity, field, and process, with fresh implications for art, computer science, and philosophy of technology.

ABSTRACT Artworks of realism have been the chief target continuously employed by critics to perpetuate a traditional view of art as mere imitation. In this article, I argue for a way to understand artworks of realism based on a suspension of the classical distinction between mimesis and poiesis. By examining the perception model and the poiesis of mechanically reproduced art, I argue that contrary to the traditional view, an artwork of realism does not represent what is ordinarily called (...) “reality” by imitating it; in what may seem a representation of the world an artwork of realism actually creates something from scratch, making neither an ontological claim to become and to replace the object in question nor an artistic claim to copy after the object; and despite its apparent achievement of resembling the objects in the world, an artwork of realism should be judged by itself as well as by itself as embodiment of conditions of seeing and of encountering, inhabiting, and interpreting the visible at a certain historical juncture. (shrink)

If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that the (...) conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

In a tribute to the intellectual legacy of Peter Fitzpatrick, this article explores the poiesis of modern law, as a constitutive ambivalence distilled in the affinity between law and literature. Reading with Fitzpatrick, the resolution of the contradictions of this law in myth depends, paradoxically, upon its fundamental irresolution. Reflecting upon the profound significance of his revelation of the mythology of modern law and its scholarly reverberations, I consider the constitutive tensions of this law as exemplified in the relation (...) between praxis and poiesis, the operative function of the former dependent upon the creative unfolding of the latter. The alchemy of autopoiesis, by which law boldly proclaims itself law, is made explicit in the eschatology of its archive and the formation of its sovereign subject in negation. Revealing the literary dimensions of this law, the conceit of autonomy is nonetheless subject to the subversive substitutions of the supplement. Pressing yet further, the autopoiesis of law is found to be enfolded within a generative sympoiesis, constituted by the movement between its apposite dimensions. Ultimately, extending Fitzpatrick’s rendering of the irresolution of modern law as decolonial, I explore the possibilities afforded by a reading of the fundamental mutuality of myths, and the decolonial conviviality of poiesis. (shrink)

With the recent renewed interest in AI, the field has made substantial advancements, particularly in generative systems. Increased computational power and the availability of very large datasets has enabled systems such as ChatGPT to effectively replicate aspects of human social interactions, such as verbal communication, thus bringing about profound changes in society. In this paper, we explain that the arrival of generative AI systems marks a shift from ‘interacting through’ to ‘interacting with’ technologies and calls for a reconceptualization of socio-technical (...) systems as we currently understand them. We dub this new generation of socio-technical systems synthetic to signal the increased interactions between human and artificial agents, and, in the footsteps of philosophers of information, we cash out agency in terms of ‘poiêsis’. We close the paper with a discussion of the potential policy implications of synthetic socio-technical system. -/- . (shrink)

For Radical Orthodoxy participatory poiēsis is the only form of authentic postmodern theology and determines its dependence upon, as well as the character of, its narrative of the history of philosophy. Th is article endeavors to display how the polemical anti-modernism of the movement results in a disregard for the disciplines of scholarship, so that ideological fables about our cultural history pass for theology. Because of the Radical Orthodox antipathy to philosophy, its assertions cannot be proven rationally either in principle (...) or in fact, and its followers are reduced to accepting its stories on the authority of their tellers. The moral and rational disciplines are replaced with a postmodern incarnational neo-Neoplatonism in which the First Principle and sensual life are immediately united, without themediation of soul or mind. With this disappearance of theoria, surrender to the genuinely other, or even attentive listening, become impossible. (shrink)

Ce texte est une proposition d’interprétation des liens, substantiels, conceptuels et théoriques, qui existent entre ce qu’il est possible de nommer économie et ce que nous nommons poésie. Notre hypothèse est qu’économie et poésie fonctionnent de la même manière du fait d’une contrainte ontologique forte imposée à la poésie. La modernité poétique essaie de s’en défaire et donc le poétique est un art récent.

Este manuscrito pretende plantear dos ideas: la primera problematiza el origen de la universidad en tanto creación humana en sentido pragmático (Kant, 1800), para luego abordarlo en perspectiva histórica desde tres momentos: Medieval, Clásico y Ancestral, retomando autores como Rashdal (1895), Haskings (1923), Ureña (1919), Ribeiro (1971) y Dussel (2004); posteriormente se plantea el origen de la universidad más allá de su historicidad, en el interior del ser humano como cultivo de la virtud y el conocimiento poiesis en Platón (...) (380 a.C/1999). La segunda idea implica comprender que desde su origen la universidad como politeia desde la apropiación de algunos planteamientos aristotélicos (s,f/1883) y arendtianos (1997), ha posibilitado pensarse como un escenario de movilización social o continuidad del orden social establecido, donde se reflexiona críticamente en la necesidad de actualización de la universidad entre poiesis y politeia como potencia para recuperar su sentido primigenio, en tanto actitud que brota del interior del ser humano. (shrink)

O presente artigo procura determinar a poiesis educativa unamuniana, ou seja, as técnicas de ensino e de aprendizagem propostas por Unamuno para o ensino espanhol das primeiras décadas do século XX. Num primeiro momento, centrar-se-á no eixo professor-aluno. Para o autor, o decisivo é que a relação que une professor e aluno não seja austera como na escolástica, na qual os referidos elementos permaneciam afastados entre si, mas que fosse estruturada numa espécie de amor filial. A sua proposta pedagógica (...) consiste, portanto, na substituição do velho paradigma educativo escolástico por um personalismo educacional que fosse capaz de conceber professor e aluno como pai e filho em espírito. Num segundo momento, valoraremos as suas propostas pedagógicas para o eixo professor-saber, que, na sua perspetiva, deveria deixar de ser pensado como um templo do saber para passar a ser concebido como um mediador das aprendizagens, como o demonstra a sua famosa definição como agitador de espíritos. Depois, e em relação direta com os resultados anteriores, analisaremos a forma como o autor estrutura o eixo aluno-saber. Unamuno, ao recusar a conceção escolástica de discente como recipiente vazio, considera que este deveria aprender mais procedimentos que conteúdos, de tal forma que fosse capaz de procurar por si mesmo o saber que necessita, com constância, esforço e trabalho. E, num último momento, deslindaremos as suas sui generis conceções epistemológicas de saber e verdade céticas. (shrink)

Nous entendons relever un défilancé par Erwin Panofsky, en montrant que la genèse d’une conception moderne et créatrice de l’art passe aussi par le platonisme et sa translatio renaissante. Cette réélaboration se paye cependant d’un prix métaphysique lourd : l’oblitération du noûs dans la hiérarchie des êtres et la dégradation de la noétique néoplatonicienne en une psychique de l’idea. Nous étudions ici comment l’âme, dans la Theologia platonica de Marsile Ficin, assume les trois grands prédicats traditionnellement attachés au noûs : (...) vie, être et intelligence ; et comment, surtout, sur cette base métaphysique, a pu émerger une théorie créatrice de l’idea, libérée de la tutelle de l’intellect – théorie qui met en œuvre une relation de la noétique à la poétique inversée par rapport au célèbre schéma aristotélicien de Métaphysique Thèta, 7, et qui initie ce que l’on pourrait appeler « noétique démiurgique ». (shrink)

I examine the role of the imagination (Einbildung) for Martin Heidegger after his Kant-reading of 1929. In 1929 he broadens the imagination to the openness of Dasein. But after 1930 Heidegger either disparages it as a representational faculty belonging to modernity; or further develops and clarifies its ontological broadening as the clearing or poiesis. If the hylo-morphic duality implied by Kantian imagination requires a prior unity, that underlying power unfolding beings in aletheic formations (poiesis) of being (the happening (...) of being, the opening of the world) would have to ultimately be in excess to any spontaneous power of subjectivity. (shrink)

ZusammenfassungZur aristotelischen Unterscheidung von Herstellen und Handeln (Poiesis und Praxis) gibt es zwei konkurrierende Interpretationen: nach der einen betrifft der Unterschied zwei verschiedene Aspekte an Handlungen, nach der anderen verschiedene Typen von Handlungen. Für eine Entscheidung dieser Frage sind systematische und exegetische Gesichtspunkte zu trennen: zwar bietet die aristotelische Textbasis Belege für beide Seiten, allerdings zeigt die systematische Untersuchung, dass eine zwei-Typen-Lesart sachlich verfehlt ist. Handlungen lassen sich nicht sinnvoll unterteilen in solche, die ihr Ziel lediglich außer sich, aber (...) kein Ziel in sich haben und umgekehrt. Stattdessen sind sie notwendig von einer doppelten Zielsetzung geleitet, bei welcher der Vollzug der Handlung in deren Vollendung münden soll. (shrink)

El espíritu científico del siglo XVII, inclinado a demostrar la verdadmore geométrico y a sostener el ideal de un conocimiento seguro que dé cuenta de la totalidad de lo real partiendo de principios evidentes, influye de manera deteminante sobre la justificación racional de las condiciones más adecuadas para la ordenación de la vida en sociedad. En esta línea se inscribe el ambicioso proyecto de Tomas Hobbes, al postular una filosofía práctica demostrativa capaz de articular definitivamente la naturaleza humana el "estado (...) natural" de la sociedad y el ideal de un orden jurídico-normativo cuya expresión máxima, el Estado como ente de razón, asume la forma de un "cuerpo artificial" construido técrucamente por los hombres. La contrastación con el pensamiento de Aristóteles, permite ver que con Hobbes no sólo nos encontramos frente auna original teoría del poder, sino ante la manifestación naciente de un movimiento cultural, filosófico, científico y político, cuyos efectos de sentido nos son hoy contemporáneos. (shrink)

ABSTRACT This article deals with the topic of production in the framework of Husserlian phenomenology. It argues for the centrality of the often-neglected thematic of production for Husserl's late phenomenology of generativity and its broadened understanding of human subjectivity as “poietic being.” As the article shows, this understanding had significant consequences for Husserl's understanding of philosophy not so much as an individualistic attitude but as the creation of a new type of communal accomplishment, the ideas, and a new type of (...) producing community. (shrink)

The purpose of this article is to investigate the meaning of politics as a practical science in Spinoza’s Political Treatise. First, we shall indicate how Spinoza recasts classical division between theoretical sciences, practical sciences and poietical sciences. The focus is on modern dissolution of abstract oppositions between theory and practice. Then we come to the question of poiesis to check how the arts of production are reconsidered by Spinoza from the new concept that stands in the unity between theory (...) and practices. Finally, we hope to contribute for further investigations about Spinoza’s politics as a “practical science”. (shrink)

We address issues of description of the origin and evolution of the genetic code from a semiotics standpoint. Developing the concept of codepoiesis introduced by Barbieri, a new idea of semio-poiesis is proposed. Semio-poiesis, a recursive auto-referential processing of semiotic system, becomes a form of organization of the bio-world when and while notions of meaning and aiming are introduced into it. The description of the genetic code as a semiotic system allows us to apply the method of internal (...) reconstruction to it: on the basis of heterogeneity and irregularity of the current state, to explicate possible previous states and various ways of forming mechanisms of coding and textualization. The revealed patterns are consistent with hypotheses about the origin and evolution of the genetic code. (shrink)

Philosophy & Social Criticism, Ahead of Print. If critical theory is to challenge capitalism’s corrosive commodification of labor and nature, then it should renew a sense of labor as a real bodily power with an internal telos, along the lines of an Aristotelian normativity of praxis. Recent thought however either rejects normativity altogether, or pits normative praxis against labor uncritically reduced to its commodification. Habermas’s work provides an exemplary case of the latter. While he rightly found the ‘production paradigm’ of (...) normativity problematic, his acceptance of the reified form of labor as total led to a severe divorce of praxis from the emerging contents of the body and nature. Although Aristotle also separated praxis from poiesis, his thought nevertheless harbors views of their dialectical integration without falling into the problematic production paradigm. Here the normativity of praxis emerges from poiesis understood non-reductively as the form of the self-organizing body already transforming nature and itself toward higher interactions. (shrink)

Belonging together of the foreign -- Hermeneutic circularity: tradition as genuine repetition of futural past -- Inceptual thinking and nonsystematic atonality -- Heidegger's Seyn/Nichts and Kabbalistic Ein Sof -- Simsum, Lichtung, and bestowing refusal -- Autogenesis, nihilating leap, and otherness of the not-other -- Temporalizing and granting time-space -- Disclosive language: poiesis and apophatic occlusion of occlusion -- Ethnolinguistic enrootedness and invocation of historical destiny.