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

We planned this meeting a long time ago, and are very happy that the editors of Voprosy literatury are displaying such good, I would say consistent, initiative in strengthening friendship, joint efforts, and collaboration with social scientists and representatives of other sciences, particularly with philosophers and the journal Voprosy filosofii.

In the fourth section of Goethe’s Zahme Xenien we find the quatrain from which I have taken the theme of such an old and new controversy, which, as I hope, concerns both Germanic studies and the other humanities: “What was it that kept you from us so apart?” I always read Plutarch again and again. “And what was the lesson he did impart?” “They were all human beings—so much is plain.”1 In the very years when Goethe wrote these (...) lines, that is in the 1820s, Hegel repeatedly gave his lectures on the philosophy of history. Right at the beginning he formulated the opposite view which I should like briefly to characterize as “cultural relativism.”Every age has such peculiar circumstances, such individual conditions that it must be interpreted, and can only be interpreted, by reference to itself…. Nothing is shallower in this respect than the frequent appeal to Greek and Roman example which so often occurred among the French at the time of their Revolution. Nothing could be more different than the nature of these peoples and the nature of our own times.2 What is at issue here is not, of course, Hegel’s assertion that ages and peoples differ from each other. We all know that, and Goethe, the attentive reader and traveler, also knew, for instance, that the Roman carnival differed in its character from the celebrations of the Feast of Saint Rochus at Bingen, both of which he had described so lovingly. What makes the cultural historian into a cultural relativist is only the conclusion which we saw Hegel draw, that cultures and styles of life are not only different but wholly incommensurable, in other words that it is absurd to compare the peoples of a region or an age with human beings of other zones because there is no common denominator that would justify us in doing so. 1. ‘Was hat dich nun von uns entfernt?’ Hab immer den Plutarch gelesen. ‘Was has du den dabei gelernt?’ Sind eben alles Menschen gewesen.’ Johann Wolfgang von Goethe, Sämtlich Werke. Jubiläums-ausgabe in 40 Bänden 4:73; with commentary.2. See Georg Wilhelm Friedrich Hegel, Vorselungen über die Philosophie der Geschichte, Werke, 20 vols. , 12:17. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, Tributes, Aby Warburg, and New Light on Old Masters. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future” , “Standards of Truth: The Arrested Image and the Moving Eye” , and “Representation and Misrepresentation”. (shrink)

This edited volume takes a new look at an old question: what is the relationship between beauty and monstrosity? How has the notion of beauty transformed through the years and how does it coincide with monstrous ontologies? Contributors offer an interdisciplinary approach to how these two concepts are interlinked and emphasizes the ways the beautiful and the monstrous pervade human experience. The two notions are explored through the axis of human transformation, focusing on body, identity and gender, while (...) questioning both how humans transform their body and space as well as how humans themselves are gradually transformed in different contexts. The pandemic, gender crisis, moral crisis, sociocultural instability, and environmental issues have redefined beauty and the relationship we have with it. Exploring these concepts through the lens of human transformation can yield valuable insights into what it means to be human in a world of constant change. The book will be of interest to scholars working in art history, archaeology, philosophy, architecture, and cultural studies. (shrink)

A well-known Hungarian philosopher, politician, literary and art theorist Georg Lukacs was a notable figure of philosophical thought in XX century. Although he was interested in many problems philosophical-aesthetical matter is the main one in all his works. The problem of human alienation from social forms is outlined in his numerous literary, philosophical, aesthetical works of pre- and post- Marxian periods. The concept of philosophical-aesthetical grounds for overcoming human alienation has been developed in his art from romantic feeling (...) of existential tragedy through the utopian expectancy of “aesthetic ideal” realization to the reliance on being conscious of individual blood nature through dialectic penetration of subjectivity and objectivity in the process of aesthetical perception. Thus he has the unaltered point of view that the art is a particular opposed to alien human nature sphere of being which allows taking away the dual principle of alien forms of human being and its essence. (shrink)

Kant and Confucius maintain that the art of becoming human is synonymous with the unending process of becoming moral. According to Kant, I must imagine a world in which the universality of my maxims were possible, while realizing that if such a world existed, then morality would disappear. Morality is an impossible possibility because it always meets resistance in our encounter with nature. According to Confucius, human beings become moral by integrating themselves into the already meaningful natural (...) order that is tian 天. Like Kant, he upholds the dignity of human beings. For Kant this dignity rests on the autonomy of each human being’s reason, while for Confucius it is dependent upon our interconnection with each other, demanding ongoing self-extension. Despite these differences, the two thinkers would concur that our efforts at humanization are unceasing and that we may never fully live up to our human potential. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an (...) unprecedented mapping of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Leo Tolstoy's theory of human nature is sketched with Descartes's and Hume's theories of human nature in the background for context. Tolstoy's view is limited to "What Is Art"?, although it could be substantially augmented by references to his other well-known works. "By words a man transmits his thoughts," to which Tolstoy adds, "by means of art he transmits his feelings." Language and art work together to give us an aesthetic education that is built around the forms of (...) communication found in the arts: story-telling, singing, acting, dancing, making, and so on. These activities reflect the fundamentals of human nature; hence, the connection Tolstoy found between human nature and art that previous thinkers had not made. (shrink)

In many countries where human embryo commercialization is banned, and no profit is allowed to be made directly from the transaction of frozen embryos between donor and recipient, there is still considerable opportunity for profiteering in medical fees arising from laboratory and clinical services rendered to the recipient. It is easy to disguise the 'sale' of altruistically donated human embryos through substantially increased medical fees, particularly in a private practice setting. The pertinent question that arises is what would (...) constitute a fair and honest profit margin for the medical professional and health institution in question? A suitable benchmark would obviously be the level of medical fees normally charged to patients for a self-freeze/thaw embryo transfer cycle, after initial failure at their first attempt in ART. This is because the level of medical expertise, clinical and laboratory services required for a donor- and self-freeze/thaw embryo transfer cycle should, in theory, be about the same, although slight variation in treatment can be expected owing to patients' respective medical histories, which results in varying predisposition to medical complications. In any case, the health authority should ensure that there is no gross disparity in the medical fees for both donor- and self-freeze/thaw embryo transfer cycle, as this could mask opportunistic profiteering by medical professionals and, in fact, be a covert form of embryo commercialization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Human Nature in Nineteenth-Century British Novels:Doing the MathJoseph Carroll, Jonathan Gottschall, John A. Johnson, and Daniel J. KrugerIThree broad ambitions animate this study. Building on research in evolutionary social science, we aimed (1) to construct a model of human nature—of motives, emotions, features of personality, and preferences in marital partners; (2) use that model to analyze some specific body of literary texts and the responses of readers (...) to those texts, and (3) produce data—information that could be quantified and could serve to test specific hypotheses about those texts.Evolutionary social science is still in the process of constructing a full and adequate model of human nature. Evolutionary social scientists know much already about how human reproductive behavior and human sociality fit into the larger pattern of human evolution. They still have much to learn, though, about the ways literature and the other arts enter into human nature. Our model of human nature draws on our knowledge of imaginative culture, integrates that knowledge with evolutionary theories of culture, and produces data that enable us to draw conclusions on an issue of broad significance for both literary study and evolutionary social science: the adaptive function of literature and the other arts.1In order to make advances in knowledge, it is necessary to choose some particular subject. Genetics is a basic science that applies to all organisms, but geneticists first got an empirical fix on their subject by focusing minutely, with Mendel, on peas, and, with Morgan, on fruit flies. In place of peas and flies, we have taken as our subject British novels of [End Page 50] the longer nineteenth century (Austen to Forster). As a literary topic, the subject is fairly broad, but our theoretical and methodological aims ultimately extend well beyond the specialist fields of British novels, the nineteenth century, British literature, narrative fiction, or even literary scholarship generally. This study is designed to engage the attention of literary scholars in all fields and also to engage the attention of social scientists. If it achieves its aims, this study would help persuade literary scholars that empirical methods offer rich opportunities for the advancement of knowledge about literature, and it would help persuade social scientists that the quantitative study of literature can shed important light on fundamental questions of human psychology and human social interaction. Our own research team combines these two prospective audiences. Two of us (Carroll and Gottschall) have been trained primarily as literary scholars, and two of us (Johnson and Kruger) primarily as social scientists.The focal point for this study is "agonistic" structure: the organization of characters into protagonists, antagonists, and minor characters. The central question in the study is this: does agonistic structure reflect evolved dispositions for forming cooperative social groups? Suppressing or muting competition within a social group enhances group solidarity and organizes the group psychologically for cooperative endeavor. Our chief hypothesis was that protagonists and good minor characters would form communities of cooperative endeavor and that antagonists would exemplify dominance behavior. If this hypothesis proved correct, the ethos reflected in the agonistic structure of the novels would replicate the egalitarian ethos of hunter-gatherers, who stigmatize and suppress status-seeking in potentially dominant individuals. If suppressing dominance in hunter-gatherers fulfills an adaptive social function, and if agonistic structure in the novels engages the same social dispositions that animate hunter-gatherers, our study would lend support to the hypothesis that literature fulfills an adaptive social function.2One of our chief working hypotheses is that when readers respond to characters in novels, they respond in much the same way, emotionally, as they respond to people in everyday life. They like or dislike them, admire them or despise them, fear them, feel sorry for them, or are amused by them. In writing fabricated accounts of human behavior, novelists select and organize their material for the purpose of generating such responses, and readers willingly cooperate with this purpose. They participate vicariously in the experiences depicted and form personal opinions about the qualities of the characters. Authors and readers [End Page 51] thus collaborate in producing a simulated experience of emotionally responsive evaluative judgment. If agonistic structure is a... (shrink)

Background Respect for human rights and bioethical principles in prisons is a crucial aspect of society and is proportional to the well-being of the general population. To date, these ethical principles have been lacking in prisons and prisoners are victims of abuse with strong repercussions on their physical and mental health. Methods A systematic review was performed, through a MESH of the following words (bioethics) AND (prison), (ethics) AND (prison), (bioethics) AND (jail), (ethics) AND (jail), (bioethics) AND (penitentiary), (ethics) (...) AND (penitentiary), (prison) AND (human rights). Inclusion and exclusion criteria were defined and after PRISMA, 17 articles were included in the systematic review. Results Of the 17 articles, most were prevalence studies (n.5) or surveys (n.4), followed by cross-sectional studies (n.3), qualitative studies (n.1), retrospective (n.1) and an explanatory sequential mixed-methods study design (n.1). In most cases, the studies associated bioethics with prisoners’ access to treatment for various pathologies such as vaccinations, tuberculosis, hepatitis, HIV, it was also found that bioethics in prisons was related to the mental health of prisoners, disability, ageing, the condition of women, the risk of suicide or with the request for end-of-life by prisoners. The results showed shortcomings in the system of maintaining bioethical principles and respect for human rights. Conclusions Prisoners, in fact, find it difficult to access care, and have an increased risk of suicide and disability. Furthermore, they are often used as improper organ donors and have constrained autonomy that also compromises their willingness to have end-of-life treatments. In conclusion, prison staff (doctors, nurses, warders, managers) must undergo continuous refresher courses to ensure compliance with ethical principles and human rights in prisons. (shrink)

For over a decade, practice-based research degrees in art and design have formed part of the United Kingdom research degree education portfolio, with a relatively rapid expansion in recent years. This route to the PhD still constitutes an innovative, and on occasion a disputed, form of research study and students embarking upon the practice-based doctorate find themselves in many ways undertaking pioneering work. To date there has been a dearth of empirical studies of the actual experiences of such students. This (...) article, based upon qualitative interviews with 50 students based at 25 institutions, represents an attempt to begin to fill this lacuna. The article charts the biographical change which students undergo as they pursue their doctorates. It examines the ways in which they construct, maintain, and modify their identities whilst in the role of ‘creator/maker’, and seek to manage and combine the different modes of being required of a ‘creator’ and a researcher. (shrink)

This article engages with the immuno-political juxtaposition of the healthy self and the pathogenic other to critically examine the representation of Nazis and Jews in Art Spiegelman’s Pulitzer Prize-winning graphic novel _Maus_ (1996). Written as a postmemory narrative, _Maus_ recounts the horrors experienced by the author’s father Vladek Spiegelman as a survivor of the Holocaust that claimed an approximate six million Jewish lives. Beginning with the years leading up to World War II, Spiegelman’s novel reimagines the discrimination, dislocation, and dehumanization (...) suffered by Vladek and his family at various prison camps in Nazi-occupied Poland before being transferred to Auschwitz. Deploying an immuno-political reading of _Maus_, this article investigates how the Third Reich undertook a systematic extermination of the Jewish race by construing them as _immunological nonself_ or pathogenic others. It further argues that Nazism’s fantasy of constructing a racially aseptic German identity by eradicating the Jews as vermin or parasites was reinforced by the late nineteenth-century eugenicist ideologies of racial hygiene. This article finally considers how policies of excessive immunization that was deployed by Nazi biopolitics against the Jewish community, as well as exercised by the Jews to survive the Holocaust, eventually assumed the form of an autoimmune pathology that culminated with the attempted destruction of the entire medico-juridical infrastructure of the German Reich on the one hand and the fostering of suicidal tendencies by the Jewish survivors on the other. (shrink)

The issue of human nature is a perennial question – as obstinate as it is old. Human reflection on the human condition is a defining feature of the experience of being human. In our time, the idea of post-biological evolution, the design paradigm of NBIC-convergence and transhumanism – as a philosophy and a cultural movement – all confront and confound our traditional notions of human nature. Unlike previous challenges to established images of the human (...) being, this re-assessment of human nature has a practical aspect – for technology now seems poised to finally achieve the age-old aspiration of human control over human nature. At its core, the idea of post-biological evolution assumes the human condition as the object of engineering. The problem of the human being thus becomes an engineering problem, approached from an engineering perspective, which – in an essential way – is design orientated. Hence, the idea of the human being that underlies the apprehension of ourselves as such an object of engineering, is of vital significance. As such, this paper argues for the relevance of philosophical anthropology within the post-biological discourse. (shrink)

This paper offers an approach to support the development of reflective teaching practice among university academics that can be used to promote dialogue about quality enhancement and the student experience. Pedagogic frailty has been proposed as a unifying concept that may help to integrate institutional efforts to enhance teaching within universities by helping to maintain a simultaneous focus on key areas that are thought to impede development of pedagogy. These areas and the links that have been proposed to connect them (...) are interrogated here through the dialogic analysis of a framed autoethnographic narrative produced by a community ‘insider’ who has considerable experience of teaching within the arts and humanities. This person-centred methodology acknowledges the subjective nature of teaching and gives voice to important stories that otherwise might not be heard formally, and allows an academic to rehearse this voice individually before comparing it with others in the institution. (shrink)

This chapter considers several dimensions of humanity’s “in-betweenness,” starting from the historical roots of the idea in Western theology, philosophy, and science. A fundamental distinction is highlighted between “human” as a continuous property and as a discrete entity. The former focuses on the human as a state of being into and out of which something might pass, whereas the latter focuses on being human as a state that something is or is not at a given moment. Both (...) conceptualizations of the human bear on the construction and significance of the Turing Test, which aims to distinguish a human from a computer simply based on responses to questions posed by a human. Usually, the Turing Test is seen as selecting the computer as non-human, but it may be redeployed to select the computer as human. This latter prospect is dubbed “Turing Test 2.0” and explored in the rest of the chapter, especially in terms of the figure of the cyborg, which has passed from cybernetics through science fiction to the lived experience of an increasing number of beings. Implied in Turing Test 2.0 is “judgement” on how a candidate might count as human. Here, foundational questions about the ontology of art are applied to understand the requisite sense of judgement involved. In the modern period, these have tended to undermine any strong connection between a work’s origin and its value. In the spirit of Turing Test 2.0, they oppose “cishumanity,” namely, the notion that one must be born human to be human. (shrink)

In this collection of essays Béatrice Longuenesse considers the three aspects of Kant's philosophy, his epistemology and metaphysics of nature, his moral philosophy and his aesthetic theory, under one unifying standpoint: Kant's conception of our capacity to form judgements. She argues that the elements which make up our cognitive access to the world - what Kant calls the 'human point of view' - have an equally important role to play in our moral evaluations and our aesthetic judgements. Her discussion (...) ranges over Kant's account of our representations of space and time, his conception of the logical forms of judgements, sufficient reason, causality, community, God, freedom, morality, and beauty in nature and art. Her book will appeal to all who are interested in Kant and his thought. (shrink)

The French philosopher, Gilles Deleuze, is emerging as one of the most important and influential philosophers of the 20th century, having published widely on philosophy, literature, language, psychoanalysis, art, politics, and cinema. However, because of the ‘experimental’ nature of certain works, combined with the manner in which he draws upon a variety of sources from various disciplines, his work can seem difficult, obscure, and even ‘willfully obstructive’. In an attempt to resist such impressions, this paper will seek to provide an (...) accessible introduction to Deleuze's work, and to begin to discuss how it can be employed to provide a significant critique and reconceptualization of the theoretical foundations and therapeutic practices of psychiatry, psychotherapy, and mental health nursing. In order to do this, the paper will focus upon Deleuze's masterwork, and the cornerstone to his philosophy as a whole, Difference and Repetition; in particular, it will discuss how his innovative and challenging account of time can be employed to provide a conception of human life as a ‘continuity’, rather than as a series of distinct ‘moments’ or ‘events’. As well as discussing the manner in which his work can provide us with an understanding of how life is different and significant for each human being, this paper will also highlight the potential importance of Deleuze's work for logotherapy, for the recent ‘turn’ to ‘narrative’ as a psychotherapeutic approach and for contemporary mental health care's growing interest in ‘social constructionism’. As such, this paper also seeks to stimulate further discussion and research into the importance and the relevance of Deleuze's work for the theory and practice of psychiatry, psychotherapy, and mental health nursing. (shrink)

Wittgenstein, in his characteristic way of indirectly bringing us to see an important feature in human life, said: ‘… art shows us the miracles of nature… We say: “Just look at it opening out!” This essay discusses how works of art ‘blossom’ and thus elicit an imaginative human response. Its various parts focus on the connected theme that some sensible component is essential to the production and comprehension of art. Each part, however, investigates a different aspect of the (...) theme and could stand on its own. What will be argued about this aesthetic factor in art will also be shown to cast light on our understanding of certain narrative texts and ceremonial acts of religion. (shrink)

BackgroundUnderstanding representations of disease in various art genres provides insights into how patients and health care providers view the diseases. It can also be used to enhance patient care and stimulate patient self-management.MethodsThis paper reviews how cardiovascular diseases are represented in novels, films, and paintings: myocardial infarction, aneurysm, hypertension, stroke, heart transplantation, Marfan’s disease, congestive heart failure. Various search systems and definitions were used to help identify sources of representations of different cardiovascular diseases. The representations of the different diseases were (...) considered separately. The Common Sense Model was used a theoretical model to outline illness perceptions and self-management in the various identified novels, films, and paintings.ResultsMyocardial infarction followed by stroke were the most frequently detailed diseases in all three art genres. This reflects their higher prevalence. Representations ranged from biomedical details through to social and psychological consequences of the diseases.ConclusionsArtistic representations of cardiovascular diseases reflect cognitions, emotions, and images of prevalent disease. These representations shape views and behaviour of ill and healthy persons regarding heart diseases. As these representations are amenable to change, they deserve further research, which may be instrumental in improving the quality of life of persons struck by cardiovascular diseases. Changing illness perceptions appears to be a method to improve self-management and thereby quality of life in patients with various cardiovascular diseases. (shrink)

Aristotle -- Art and the artist -- Being -- The Christian life -- Christian philosophy -- The Church -- Culture and civilization -- Democracy and democratic society -- Descartes and Cartesian philosophy -- Philosophy of education -- Evil -- Ethics -- Faith -- Freedom -- God -- History -- Humanism -- Intellect and intelligence -- Knowing and knowledge -- Man -- Marx and Marxism -- Metaphysics and metaphysicians -- Moral philosophy -- Mystery and mysticism -- Natural law and human (...) rights -- The person -- The person and the individual -- Personality -- Philosophers -- Philosophy -- Poetry and the poet -- Politics, society, and the state -- Prayer and contemplation -- Reason and reasoning -- Science -- Theology and the theologian -- St. Thomas and Thomism -- Truth -- Varia -- Wisdom. (shrink)

The Anatoly Bakushinsky’s Seminarium (1917–1926) at the Tsvetkov gallery in Moscow became one of the first experimental and most influential venues to develop approaches to the perception of art in Soviet Russia. In it, Bakushinsky, an art critic and the head of the Physical-Psychological Department of the State Academy of Artistic Sciences (GAKhN), incorporated the practice of formal art history into a methodology based on materialism, psychology, and experimental aesthetics widely practiced at the GAKhN. Today, this combination of approaches is (...) perceived as an isolated historical example of an outmoded eclecticism. I argue, however, that Bakushinsky’s methodology should be studied in the context of the complex institutional structure of the Academy that was designed to ensure multidisciplinary work in art studies and its almost immediate implementation into art practice. This institutional and material nexus of the GAKhN’s history opens up a new direction in studying the intellectual legacy of Soviet humanities of the 1920s, which is otherwise often reduced to biographical narratives. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Introduction. Artificial intelligence is a trend of NBIC-convergence and information technologies in particular. Since the 70s of the 20th century it has been a subject of intense debate in the scientific community. A direct indicator of the importance of the topic is the publication dynamics and the annual increase in the number of indexed articles. According to the statistics, Western social sciences are in the top five industry leaders. The purpose of the study is to analyze the Scopus database and (...) identify the key mythologems of the scientific discourse of social sciences (in the field of artificial intelligence). The latter go beyond the boundaries of research norms and standards and express non-reflective research intentions. Methods. The reference base of scientific arti- cles includes works published during the decade (2010—2020). Methods for detecting verbal mark- ers and content analysis were used. At the same time, the emphasis was mainly placed not on quan- titative, but on qualitative analytics as well. The basis for the choice of markers was the frequency of their use in abstracts (abstracts), headings (titles) and keywords. The selection of verbal markers was made in accordance with two conditionally desig- nated categories: «trends», or frequency engineering, technical and social and humanitarian terms, expressing the direction of research practic- es and «mythologemes», or elements of a second- ary semiotic system. Scientific novelty of the study. Scientific novelty is due to the specification of the research subject. In the West, the direction of the so-called «Tech- nological mythology», which focuses mainly on the discourses of art and ideological documents is being developed. The analytics of scientific content makes it possible to remove the existing research limitations of the subject and identify prospects for further study of modern mythology. Content analysis made it possible to identify some extreme- ly general formulations of technological mythologe- mes, which can be refined and concretized. Results. Following the results of the study, a de- scription of three metatrends was made — techno- logical, social and anthropological. All key directions within the boundaries of each trend are listed. At the same time, it is argued that the anthropotrend has a relatively smaller share in the discourse of Western social sciences. As a debatable aspect of the study, five scientific mythologemes were iden- tified and conditionally designated. Interpretations and characteristic examples of the functioning of each are offered. Conclusion. The technological trend is constituted by the data of technical sciences and engineering developments with a social orientation. Sociotrend is determined by the spectrum of technology application areas. The conclusion is made about the diffusion of two trends and the discourses serving these trends. Discursively, the technotrend serves to construct a strictly scientific discourse based not on abstract, but on specific and precise proposi- tions. Particular attention is paid to the discursive mainstream of «smartization», which is characteris- tic of the scientific content of the second decade of the 21st century. Emphasis is placed on the anthro- pological risks of extrapolating «smartization» to specialized practices. (shrink)

Background The American Association of Medical Colleges has called for incorporation of the health humanities into medical education, and many medical schools now offer formal programs or content in this field. However, there is growing recognition among educators that we must expand beyond empathy and wellness and apply the health humanities to questions of social justice – that is, critical health humanities. In this paper we demonstrate how this burgeoning field offers us tools for integrating social justice into medical education, (...) utilizing the frameworks of critical consciousness and structural competency. Practice of health humanities Critical health humanities can be applied at multiple levels of learners, and in a variety of contexts. We are two physician-writers who have developed several educational programs that demonstrate this. We taught a seminar that introduced first-year and second-year undergraduates to concepts such as social determinants of health, intergenerational trauma, intersectionality, resilience, and cross-cultural care through works of fiction, poetry, film, podcasts, stand-up comedy, and more. Through creative projects and empathic reflection, students engaged with the complexities of structural forces that create and maintain health disparities. Medical students in their clinical years can engage in critical health humanities learning experiences as well. We teach several multidisciplinary electives that address social (in)justice in medicine, as well as mentor fourth-year students engaged in independent electives that foster critical awareness around health equity and ethics. Beyond the classroom, we have actively engaged in critical health humanities practices through story slams, literary journal clubs, conference presentations, and Grand Rounds. Through these activities we have included learners at GME and CME levels. These examples also demonstrate how community engagement and multidisciplinary partnerships can contribute to the practice of critical health humanities. Conclusion In this paper, we explore the growing field of critical health humanities and its potential for teaching health equity through narrative practices. We provide concrete examples of educational activities that incorporate critical consciousness and structural competency – frameworks we have found useful for conceptualizing critical health humanities as a pedagogical practice. We also discuss the strengths and challenges of this work and suggest future directions. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to (...) invigorate poetry and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

This paper explores the compatibility between the Daoist art of emptying one’s heart-mind and the art of creating close relationships. The fact that a Daoist sage is characterized by an empty heart-mind makes him somewhat different from an average human being: since a full heart-mind is characteristic of the human condition, the sage transcends what makes us human. This could alienate him from others and make him incapable of developing close relationships. The research goal of this paper (...) is to investigate whether – in spite of being an unusual human being – a Daoist sage has the abilities necessary for creating close bonds with others. (shrink)

Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. Responding to this challenge, _Switching Codes _brings together leading American and European scholars, scientists, and artists—including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers—to consider how the (...) precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields. _Switching Codes_ will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including scientists, educators, policymakers, and artists, alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 14.1 (2004) 47-54 [Access article in PDF] Ethical Guidelines for Human Embryonic Stem Cell Research*(A Recommended Manuscript) Adopted on 16 October 2001Revised on 20 August 2002 Ethics Committee of the Chinese National Human Genome Center at Shanghai, Shanghai 201203 Human embryonic stem cell (ES) research is a great project in the frontier of biomedical science for the twenty-first century. Be- cause (...) the research involves the use of human embryos, it triggers serious debate on ethical issues. Opponents consider the embryo to be an early form of human life that should be respected and not destroyed. However, the majority of scientists support embryonic stem cell research, believing that it offers good prospects for the treatment of diseases that have remained incurable until now and so will benefit humankind. The Ethics Committee of the Department of Ethical, Legal, and Social Implications of the Chinese National Human Genome Center at Shanghai seriously discussed the ethical debate initiated by embryonic stem cell research. We concluded that we should support the scientists of our country in actively carrying out human embryonic stem cell research for the noble cause of "medicine being a beneficent art." For the healthy and orderly development of human embryonic stem cell research in our country, we put forward the following recommended Ethical Guidelines for Human Embryonic Stem Cell Research as a reference for leaders, administrative departments, and related scientists. Preface Article 1. Human embryonic stem cells are the primitive cells that play the main role in the growth and development of a human body. These [End Page 47] primitive cells have the potential for infinite proliferation, self-renewal, and multi-directional differentiation. If scientists can discover the mechanism of differentiation of human embryonic stem cells, it will be possible to induce differentiation of human embryonic stem cells to form various types of human cells for clinical cell therapy. If human embryonic stem cell research can be integrated with modern biomedical engineering techniques, it also will be possible to make repair and replacement of human tissues and organs a reality. Article 2. There are two ways to classify human embryonic stem cells. One way is to classify them according to their potential for differentiation. There could be three kinds of stem cells: totipotent stem cells, pluripotent stem cells, and unipotent stem cells.A totipotent stem cell has the potential to develop into a whole individual. It can differentiate into the more than 200 cell types in the whole body, construct any tissue or organ of the body, and finally develop into a whole individual. The fertilized egg and the cleavage cells at the very early stage of embryonic development are totipotent stem cells.A pluripotent stem cell has the potential to differentiate into many cell types derived from the three embryonic layers. However, it has lost the capacity to develop into a complete organism.A unipotent stem cell is derived from the further differentiation of the pluripotent stem cell. It can differentiate only into one cell type such as a hematopoietic stem cell, neural stem cell, and others.The other way is to classify human stem cells according to their source. There could be two kinds of human stem cells: embryonic stem cells and tissue stem cells (also called adult stem cells). The former involves experimentation with embryos, which has serious ethical implications. Ethical issues associated with the latter are mainly expressed in the various opinions regarding the allocation of health resources. Article 3. Human embryonic stem cells are the group of cells called the blastocyst inner cell mass during the early stage of embryonic development. They are the main source of totipotent stem cells, and hence the focal and hot point in stem cell research. Studies on the clinical application of embryonic stem cells probably will involve use of the somatic cell nucleus transfer (SCNT) technique, which destroys the early human embryo. At present, the ethical and moral debate is very serious in human embryonic stem cell research regarding whether the research will develop... (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is the (...) cradle of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

Machine generated contents note: 1 The Problem of Subjectivism -- 2 The Self: Dispersion and Constancy -- 3 Decentering the Subject: Works of Art as Heroes -- 4 Practice, Language, and Poetry -- 5 Language: The Transcendental Path -- 6 Language as a Web -- 7 The Human Being as Speaker and Mortal -- 8 Being Human in the Age of Technology.

Plato argued that knowledge of human nature can be reached through dialogue and dialectical method in accordance with the Socratic heritage. In his philosophy, man can be defined as being capable of rationally answering a rational question. By giving rational answers to himself and others, human also becomes a moral subject. In Plato's philosophy, we see a clear program based on human nature. Issues related to human nature are discussed in the process of applying Plato's theory (...) of ideas to the field of morality, art, politics and education. What emerges in practice, for example, right and fair behavior is a manifestation of the principle of truth and justice. According to Plato, man reflects the character of the state he lives in. To understand a person, it is necessary to consider the society in which he lives. The state is not an institution that people come together and establish with their own will, but an organism, a whole. According to Plato, in order to grasp the true meaning of human society and to arrange it properly, one must first comprehend the astronomical cosmos. Because, knowing the meaning of the concepts of harmony and order is possible only by understanding the astronomical cosmos, which is the expression of an eternal order. While studying the astronomical cosmos, a man comes to the idea of harmony and order itself. Indeed, the infinite canonical and harmonious movements of the stars in this pre-eternal order on their perennials lead to the concept of law itself. People who admire this harmony and order in the sky want to realize a model of it on earth. He concludes that the laws that will rule over the human world must be continuous and compatible, just like the laws in the world of stars. Thus, the state must be an earthly model of the astronomical cosmos. If a person lives in the state, he should realize this harmony and order in the state in his own spirit. (shrink)

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

The emergence of cave art in Europe about 30,000 years ago is widely believed to be evidence that by this time human beings had developed sophisticated capacities for symbolization and communication. However, comparison of the cave art with the drawings made by a young autistic girl, Nadia, reveals surprising similarities in content and style. Nadia, despite her graphic skills, was mentally defective and had virtually no language. I argue in the light of this comparison that the existence of (...) the cave art cannot be the proof which it is usually assumed to be that the humans of the Upper Palaeolithic had essentially ‘modern’ minds. The article includes peer commentary by Paul Bahn, Paul Bloom, Uta Frith, Ezra Zubrow, Steven Mithen, Ian Tattersall, Chris Knight, Chris McManus and Daniel Dennett , with response by Nicholas Humphrey. [Owing to the number of illustrations, the full text for this file is in excess of 1 Mb. .]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 65-77 [Access article in PDF] In Defense of Observational Practice in Art and Design Education Howard Cannatella Introduction It is increasingly debatable whether observational drawing and making in nature are still regarded as principal activities of art and design learning. Against this, the aim of this article is to strengthen sympathetically a teacher'sunderstanding of observational creative work from nature and to assert (...) that such an approach should be central to art and design teaching and learning.My reasons for writing this article are to reconsider observational aspects of this approach that are not generally expounded in existing art and design educational practice circles. The reluctance by some to debate theimportance of the observational creative process may be construed as a questionable position to take, for a number of educational practitioners in art and design appear to see observations in nature as irrelevant to current art and design learning, as if it were a fashion item, one that has lost its appeal. Creative poiesis, some would argue, could never extend sufficiently to observations in nature. When observations in nature are seen as trite, not high art, there is the perception that art and design may have lost something precious, unable to nurture, becoming too introverted and sensational at the expense of grappling with common human realistic experiences. A decline in observational visual sensibilities may seem inevitable under these conditions.There is a persistent view in art and design education that seems to me to be a misconception — that observations in nature are restrictive and superficial, an experience that deals only with archaic approaches in learning. In the work of Immanuel Kant, imitation could not be an original factuality. 1 In Kantian terms, to imitate exactly a thing of beauty would be an act considered as "wholly destitute of taste." 2 A similar kind of sentiment is echoed by Georg Hegel, who considers imitation in art as "deceptive" and goes on to say: "the pursuit of imitation is on the same lines as the feat of the man who has taught himself to throw lentils through a small aperture [End Page 65] without missing." 3 More recently, Norman Bryson criticizes the idea of a "natural attitude" toward observations in natureas he denounces any suggestion of the purity of the universal visual image. 4 This backlash may make us feel a little uneasy as to why observations in nature should play a primary role in art and design education.My argument will be that although creative observations in nature do involve mimetic and regulative factors, these factors, when sensitively handled,can enlarge our imagination, touching us deeply in the process. Along these lines, it does not follow that because a work is mimetic in kind that it necessarily fails to produce significant learning. In accepting that there is a degree of control exerted normatively by what is being observed in the nature of such work, these perceptions in art and design become, through the creative process, refined and subtle experiences. Normative features and experiences may spur the artist or designer to create powerful expressions of them in the work.I will try to demonstrate that observational creative work, for all its reality checks, has the capability to be powerfully expressive and make discoveries that seem pertinent and true. As I see it, this encounter involves moral, social, perceptual, cognitive, and aesthetic orchestrations.Of course, some might insist that artistic autonomy could be a problem when having to work from observation in nature but the idea of autonomy relates to self-rule, a condition that is perhaps best understood, as Robert Young states, as being predominately dispositional as opposed to occurrent. 5 Educators like myself may want to argue that art and design teaching and learning requires, apart from other things, an understanding of theworld in which one lives as we come into contact with what actually and candidly stands publicly before us. This position cannot be reached through channelling our efforts exclusively via autonomist means.Certainly, in education, motivation, prior experience, personality, student... (shrink)

The paper considers two main cases of how the creative arts can inform a greater appreciation of human dignity. The first case explores a form of theater, Commedia dell’Arte that has deep roots in Italian culture. The second recounts a set of theater exercises done with very minimal direction or self-direction in executive education and MBA courses at the Darden School, University of Virginia, in the United States. In both cases we highlight how the creative arts can be important (...) for promoting human dignity in organizations, and how they can lead to a more authentic conversation about values, ethics, and meaning. (shrink)

My work is concerned mainly with an abstract subject: the problem of human knowledge and, in particular, of scientific knowledge.I am an optimist. I am an optimist in a world where among the intelligentsia it has become a strict rule that one must be a pessimist if one wants to be “in”. But I do believe that our age is not so bad as is generally maintained; I do believe that it is better and more beautiful than its reputation. (...) A quarter of a century ago, I gave a lecture, the title of which sounds today even more provocative than it did then: “The History of our Time: An Optimist's View”. (shrink)

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are (...) the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

Inclusion of the humanities in undergraduate medicine curricula remains controversial. Skeptics have placed the burden of proof of effectiveness upon the shoulders of advocates, but this may lead to pursuing measurement of the immeasurable, deflecting attention away from the more pressing task of defining what we mean by the humanities in medicine. While humanities input can offer a fundamental critical counterweight to a potentially reductive biomedical science education, a new wave of thinking suggests that the kinds of arts and humanities (...) currently used in medical education are neither radical nor critical enough to have a deep effect on students’ learning and may need to be reformulated. The humanities can certainly educate for tolerance of ambiguity as a basis to learning democratic habits for contemporary team-based clinical work. William Empson’s ‘seven types of ambiguity’ model for analyzing poetry is transposed to medical education to: (a) formulate seven values proffered by the humanities for improving medical education; (b) offer seven ways of measuring impact of medical humanities provision, thereby reducing ambiguity; and (c) --as a counterweight to (b) – celebrate seven types of ambiguity in contemporary medical humanities that critically reconsider issues of proof of impact. (shrink)

A new take on our bio-cultural evolution explores how the "inner theatre" of the brain and its "animal-human stages" are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites—perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining (...) specific films as well as early cave images, the book discusses how certain creatures on rock walls and movie screens express animal-to-human evolution and the structures of our brains. The book presents a new model of the human brain with its theatrical, cinematic, and animal elements. It also develops a theory of "rasa-catharsis" as the clarifying of emotions within and between spectators of the stage or screen, drawing on Eastern and Western aesthetics as well as current neuroscience. It focuses on the "inner movie theater" of memories, dreams, and reality representations, involving developmental stages, as well as the "hall of mirrors," ape-egos, and body-swapping identifications between human beings. Finally, the book shows how ironic twists onscreen—especially of contradictory emotions—might evoke a reappraisal of feelings, helping spectators to be more attentive to their own impulses. Through this interdisciplinary study, scholars, artists, and general readers will find a fresh way to understand the potential for interactive mindfulness and yet cathartic backfire between human brains—in cinema, in theater, and in daily life. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...) variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

The traditional philosophical questions around human freedom are to do with how to square freedom for human organisms with increasingly scientific understandings of the universe itself. At the beginning of Western philosophical consciousness, Plato, unlike later philosophers eligible of the label rationalist, maintained that there are obstacles to free and rational agency, owing in no small measure to pressures exerted by the human psyche from what later were referred to as biological drives and drives for social status. (...) In subsequent eras, these obstacles came under the heading of “weakness of will”—a conception shared widely in popular and traditional culture. Today the realities of addiction, social stresses, forces of habit, culture, social position, and group identity, together with psychological findings about cognitive biases, have come to dominate the landscape of empirically-based obstacles to agency. Can the image of the human being under the microscope of contemporary science, including cognitive and social science, be reconciled with the “manifest image” of human beings as sources of their individual behaviors (and held responsible accordingly), particularly if the scientific image is best construed in terms of governance by laws of nature? (The phrases manifest image and scientific image were coined by the twentieth-century American philosopher Wilfrid Sellars, see Sellars 1962.) How is it possible to square the idea of laws of nature with the manifest image in which humans exercise free agency as they play their various parts in the drama that is life? Does the manifest image thus square better with a theistic image of the world, as both seventeenth-century French philosopher René Descartes and eighteenth-century German philosopher Immanuel Kant seem to have thought, and by contrast the scientific image square better with atheism? A deterministic universe, such as was proposed during the Enlightenment, was early on thought to pose a threat to the idea of human freedom. (It does not pose the same threat to the idea of a sovereign creator, however, because the notion of a creator of the universe already puts the entity who qualifies for the office outside the regime of those laws, ahead of them both in time and in ontological status.) One traditional answer to the threat has been the notion of compatibilism— which simply asserts that freedom and determinism are not incompatible. The devil, of course, has been in the details of explaining how this can be so, and many schools of thought on the matter exist. It is worthwhile noting that there are enormously compelling reasons, from the quantum regime so well described by quantum theory, to reject determinism: the laws governing the universe are simply not fully deterministic. This, of course, vitiates the need to confront the threat as originally posed. However, the trouble, if one follows along this line of thought, is to make sense of the nature of freedom in a world governed partly by deterministic laws and partly by nondeterministic ones that admit of an element of chance. Is such a world itself any more compatible with the idea of human freedom? In this section we grapple with the question of human freedom, what it could mean, and whether it is best accepted in the context of a form of theism. We find that theism has no more resources for addressing these difficulties than atheism does. (shrink)

The paper considers two main cases of how the creative arts can inform a greater appreciation of human dignity. The first case explores a form of theater, Commedia dell’Arte that has deep roots in Italian culture. The second recounts a set of theater exercises done with very minimal direction or self-direction in executive education and MBA courses at the Darden School, University of Virginia, in the United States. In both cases we highlight how the creative arts can be important (...) for promoting human dignity in organizations, and how they can lead to a more authentic conversation about values, ethics, and meaning. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He (...) shows that a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)

As opposed to the computer, the human being can intentionally mislead in many different ways, can behave chaotically, and whenever he has the motivation can choose also by improvisation, non‐consequent misleading, and spontaneous manners of reasoning and articulation. Human perception and the elaboration of the experience are existentially interest‐related, and distorted if found necessary. The arbitrariness is unlimited; human beings can initiate and produce absurd combinations, contextual failures and deceptive expressions, and do so also by intonation (...) and body‐language. These are the sources of social behaviour, of literature, arts, jurisprudence, politics, etc., all representing systems of meaning constructed by human beings, present in their ‘Lebenswelt’. Human beings are flexible, sensible of emotions and well‐trained to code and decode hidden fallacies, to produce wild associations, capricious‐temporary conclusions, tasks that the rigid computer cannot fulfil. They can choose incorrect and dysfunctional answers; the exactness of their reasoning can be logically invalid. The computer has only inner horizons; human beings have also outer ones, in which they are able to produce multidimensional relationships. They are not truth‐conditioned.The reduction of organic human thinking to the computer’s mechanisms can end up in humankind’s dehumanisation. (shrink)