Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his (...) philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

This book offers a sustained scholarly analysis of Gadamer's reflections on art and our experience of art. It examines fundamental themes in Gadamer's hermeneutical aesthetics such as play, festival, symbol, contemporaneity, enactment, art's performative ontology, and hermeneutical identity. The first two chapters focus on Gadamer's critical appropriation and movement beyond Kantian and Hegelian aesthetics (and includes a coda on Heidegger's influence). The final three chapters argue for the continued relevance of Gadamer's hermeneutical aesthetics by bringing his claims into conversation (...) with contemporary art and music, as well as the ethical and sociopolitical dimensions of the Artworld and art-praxis. The ethical and sociopolitical aspects of art- and music-making are given particular attention in chapters devoted to 20th century African American artist Romare Bearden, Banksy's street art, and a range of jazz expressions, from traditional jazz to the complex practice of free jazz. Gadamer's Hermeneutical Aesthetics will appeal to researchers and advanced students working on Gadamer, philosophical hermeneutics, continental philosophy, aesthetics, and the philosophy of contemporary art and music. (shrink)

This article investigates the tenet of Object-Oriented Ontology (OOO) that art, like philosophy, is a form of cognition different from literal knowledge by applying key OOO concepts to the analysis of the Renaissance painting The Ambassadors (1533), a double portrait by Hans Holbein the Younger (1497/98–1543). The Ambassadors is found to exemplify the key principles of OOO in its treatment of objects and their relationships. Through an OOO lens, the painting becomes not merely a literal representation of the subjects (...) and their possessions, but a dynamic interplay of real and sensual qualities that exceeds any straightforward paraphrase. The figures and objects in the work are not simply passive symbols, but active agents that withdraw from direct access, preserving their autonomy and inviting the viewer’s participatory engagement. Holbein’s masterpiece comes alive precisely by troubling its own representational coherence, drawing the viewer into an uncanny encounter with the withdrawn depths of objects. By reading The Ambassadors through an object-oriented framework, the painting exemplifies art’s capacity to operate as a non-literal form of cognition, irreducible to mere symbolic codes or propositional knowledge. (shrink)

From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity to (...) give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a god, or the utopian dimensions of a black square on a white ground. Joselit goes on to explore artwork's relation to infinitude. As he explains, every work of art, in its material and visual qualities, can be host to an unlimited number of events and encounters with spectators, which persist through and over time. This infinitude is curtailed as art becomes property and is made to serve as a representation. In the modern period, white artists have been presumed to manifest an unmarked, supposedly neutral national character in Europe and the United States, while artists of color are often made to stand in for the identity attributed to them. In place of this dynamic of representation, Art's Properties will advocate for privileging narration over representation. While representation is finite-one thing is put in the place of another-narration has no end; it can be multiplied to encompass the many stories an artwork might enable. In focusing on the forms of narration that an artwork can contain, this book explores art's infinite aesthetic and material alterity. (shrink)

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will (...) be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding. (shrink)

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the (...) gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful. The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another. The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie). In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten. (shrink)

Following suggestions by Joseph Margolis and Richard K. Sawyer, in this paper I apply the notion of emergence to the philosophy of art. I will argue that the interpretation of works of art cannot be reduced either to the perceptive experience of the manifest qualities of the art object, nor to the identification of the author’s intentions, nor to the understanding of the practices of the historic context of production. I suggest, instead, that the identity of a work of art (...) emerges, on the one hand, from the artist’s interactions with forms, materials and artistic genres and, on the other, from the relationships between the artwork and the changing contexts of its reception. Moreover, I maintain that artistic categories are formed through artistic practices and that, therefore, they cannot be assumed as undisputable criteria for the identification and evaluation of artworks. I will thus argue that the emerging normativity of improvisational interaction in the performing art provides a suitable model to account for the “dynamic” ontological identity of artistic phenomena. (shrink)

Regla y tiempo real son las ineludibles entidades entre las que se genera la creación musical. En contra de ciertas idealizaciones que enturbian la comprensión de lo que hacemos cuando hacemos música, no hay --en un extremo del eje-- improvisación ni interpretación que no dependan en mayor o menor medida de un predeterminado marco normativo. Y, en el otro extremo, hasta el más exhaustivo conjunto de instrucciones se implementa siempre en un irrepetible tiempo real, lo que hace de la música (...) un fenómeno solo parcialmente predecible y, por lo tanto, abierto a la improvisación. En consecuencia, lejos de las inclinaciones excepcionalistas tanto de algunos discursos académicos como de ciertos valedores de lo que solemos llamar músicas improvisadas, esta obra señala una relevante continuidad entre distintos modos de hacer música, una continuidad a menudo oscurecida por la desatención o el humo ideológico. Toda interpretación es, pues, constitutivamente improvisativa y, a la vez, dependiente de un marco normativo. Si, finalmente, y en contra del hegemónico platonismo musical, admitimos que "una obra musical no existe sino en el momento de su interpretación", por decirlo en los términos de Vladimir Jankélévitch, parece que debiéramos contemplar sin reparos la posibilidad --por contraintuitiva que parezca-- de que toda obra musical sea forzosamente improvisativa. Estas páginas fascinantes pretenden, desde disciplinas complementarias como la estética, la musicología o la ontología del arte, esclarecer determinados aspectos básicos de nuestras prácticas musicales y responder a una serie de preguntas sobre la tradición, la naturaleza y la interpretación de la obra musical que no solemos hacernos"--Back cover. (shrink)

The task of finding art in the world is presented as a tale of three dynamic forces that have shaped art in recent times. The first is expansion of the domain of art. This is reflected in linguistic change. The term "art" has grown enormously in sense and extension. The second force is the public's subjective response to art writ large. Our commercial culture compels reaction. The third force is the art world's active promotion of the expansion of art's (...) domain and the contextualization of the public's subjective response to it. The aspiration of the paper is to bring some clarity to how we presently identify art, respond to it, understand it, and institutionalize it. The tale concludes with discussion of the future of art in the world today. (shrink)

Ontology is a part of metaphysics; it concerns what there is. Is it possible to consider being and reality not in a traditional metaphysical way—that is, not as a ground, an origin, a cause, but as a movement, a flux, a dynamogenic principle? I will set out from a seminal aphorism by Nietzsche, occurring in Human, all too Human (§2): “A lack of the historical sense is the hereditary fault of all philosophers. But everything has evolved; there are no (...) eternal facts, as there are likewise no absolute truths. Therefore, historical philosophising is henceforth necessary, and with it the virtue of diffidence”. I will then move on to explore Peirce’s late thought, starting from a passage in a letter to W. James, where the author supports a “futurist” interpretation of reality—as he had in the juvenile writings—and speaks of “the reality of the public world of the indefinite future as against our past opinions of what it was to be.” This can be defined as a process of “mellonization,” that operation of logic by which what “is conceived as having been is conceived as extended indefinitely into what always will be”. Similarly, in the Preface to Human, all too Human Nietzsche writes: “Our destiny rules over us, even when we are not yet aware of it; it is the future that makes laws for our today”. I will try to read some Peirce’s statements in a Nietzschean perspective within the context of the plan to develop a dynamic and historical ontology; and I will try to read the “enigma” of Nietzsche’s Eternal recurrence from a Peircean perspective. (shrink)

While the words “utopia” and “anticipation” frequently appear together in discussions of the concepts of utopia and dystopia, little attention to the relationship of Anticipation Studies to utopian studies exists. Moreover, the relevance of literature and the arts to Anticipation Studies seems almost invisible. This essay focuses on the structuring of the original utopian narrative, Sir Thomas More’s Utopia, in order to understand how this seminal text conceptualizes utopia’s relation to past, present, and future. This analysis focuses on the complex (...) framing devices characteristic of utopian narrative, as well as its open-endedness. The embedding of narratives sets up the dynamic movement between past, present, and future – the various forms of temporality – that allows us to clarify the nature of utopian anticipation.Throughout the chapter, I attempt to connect utopian textual and conceptual theory to specific concepts in the emerging field of Anticipation Studies, with which Utopian Studies, a long-established interdisciplinary field, have not yet engaged. Of particular interest is the notion, promoted by Miguel Abensour, that utopia is always a disruption and thus not an anticipation in any “natural” or logical sense: “what matters is the orientation toward what is different, the wish for the advent of a radical alterity here and now” : 407, 2008). From this premise, we can reintroduce a neglected literary term from science fiction theorist, Darko Suvin: the novum. The eruption of a future from a point of radical alterity – an ontological accident – opens up radical implication for the nature of utopian anticipation and futurity.Finally the essay suggests that Robert Poli’s and Robert Rosen’s description of an anticipatory system as comprising “the predictive model of itself” within the genre’s formal characteristics is in fact present in the structure of the utopian narratives: that is, that the persistence of utopia – as a literary genre and as a political concept – inheres in the narratological structuring of the possibility of another story and another listener. Utopian narrative thus ultimately anticipates not only temporal relationality, but an ethical relation between the outside narrator, the utopian traveler/narrator, and the reader. It anticipates another story. (shrink)

The essay distils from Badiou's writing a pedagogy based on his theories of knowledge and truth, as brought to bear on poetry and the arts. By following Badiou's implicit ontology of learning, which presupposes a dynamic and passionate engagement with a concrete situation, the essay argues that Badiou's view of modernity, in particular, contributes greatly to the educational topic, and offers an alternative teaching paradigm to the outmoded schools of criticism of the 20 th century. It also argues (...) that the concept of universalism in education, as against identitarian particularism, is further evinced from a discussion of Badiou's study of St. Paul. (shrink)

Preview: Beyond Baumgarten, the modern field of aesthetics can be seen as an attempt to go beyond the limits of older philosophies of beauty, sublimity, and taste in order to engage a much wider domain of qualities and judgments relating to our pleasurable and meaningful experiences of art and nature. The defining strategy of Hegelian aesthetics is to take the essence of aesthetics beyond the limits of nonconceptual sensuous experience and to celebrate instead the idea of art as purveying the (...) very highest spiritual truths, albeit in a somewhat sensuous form. The progressive revolutions of artistic forms and styles that define twentieth-century art similarly reflect the same play of dynamic movement in which art and aesthetics advance by challenging and overcoming the determination of established boundaries posited by prior aesthetic theory and practice. The limit-defying trend in aesthetics is evident in the continuing unsuccessful attempts by analytic philosophy to provide a satisfactory definition of art that will perfectly define its extensional limits by either providing its core essence or some formula that will select all and only those objects that are genuine works of art. Like other Wittgensteinian and pragmatist-inspired philosophers, I have criticized such compartmentalizing definitions of art, not simply for their failures to provide perfect extensional coverage of all the diverse works of art, but also for these theories’ explanatory poverty in explaining art’s meanings, purposes, functions, and values. One of the problems with traditional definitions of art is that they attempt to define something that is not a natural kind but a historically constructed field composed of rather diverse practices. These diverse practices employ a variety of different media and issue in a variety of different works of art that appear to belong to different ontological categories. (shrink)

How do words and images function hermeneutically? How does hermeneutic practice work? Answering these questions and more, Nicholas Davey develops the hermeneutical foundations of creative practice. In doing so, he not only uncovers the significance of philosophical hermeneutics for the arts and the humanities, but defends the humanities as a whole from the current scepticism inspired by deconstruction and post-structuralism. Taking Gadamer's language ontology as its cue, this pioneering volume not only addresses certain weaknesses that Davey observes in Gadamer's (...) thought but further takes Gadamerian thinking beyond Gadamer himself. In particular, Davey investigates the productive value of negativity that is central to hermeneutics and to wider spheres of creative learning. Advocating a renewed confidence in hermeneutics and the humanities, Negative Hermeneutics and the Question of Practice reveals how hermeneutical thinking provides a map of the dynamics within creative practice, eliminating the need for an externally imposed 'theory' of the arts. (shrink)

Peter Goldie and Elisabeth Schellekens have recently articulated the Idea Idea, the thesis that “in conceptual art, there is no physical medium: the medium is the idea.” But what is an idea, and in the case of works such as Duchamp's Fountain, how does the idea relate to the urinal? In answering these questions, it becomes apparent that the Idea Idea should be rejected. After showing this, I offer a new ontology of conceptual art, according to which such artworks (...) are not ideas but artifacts imbued with ideas. After defending this view from objections, I briefly discuss some implications it has for the ontology of art in general. (shrink)

In this thesis I provide an interpretation of Kant's theories of knowledge, nature, and being in order to argue that Kant's ontology is a productive ontology: it is a theory of being that includes a notion of production. I aim to show that Kant's epistemology and philosophy of nature are based on a theory of being as productivity. The thesis contributes to knowledge in that it considers in detail Kant's ontology and theory of being, topics which have (...) generally been ignored or misunderstood. In arguing for Kant's productive ontology, I argue against Heidegger's interpretation of Kant, which states that Kant understands being as "produced permanent presence" or as divinely created materiality. Based on Kant's definition of being as positing, I argue, by contrast to Heidegger, that Kant understands being as the original productive relation between subject and object. This can also be expressed as the relation between formality and materiality, or between epistemic conditions and existence, that is productive of objects of experience. Being is not producedness but a relation of productivity, through which both subject and object are themselves productive. The subject is productive in its spontaneity, and nature, determined as dynamical interaction, is interpreted as productive. The subject, I will argue, does not understand nature as produced, but approaches it with a comportment towards its production as object of experience. Because of its own subjective productivity - spontaneity or "life" - the subject has a "productive comportment" towards nature. Ontology, I claim, concerns the realm of the productive relation of being, the realm of the relation between epistemic conditions and existence, and therefore the realm of possible experience. This marks Kant as divergent not only from what Heidegger calls "the ontology of the extant", but also from the concept-based ontology of the German rationalists. The general aims of the thesis are, first, to argue that being for Kant is the original relation between subject and object, and that ontology concerns this relation; second, to argue that ontology and being are understood in terms of production and productivity; and third, to argue that Heidegger is wrong to ascribe to Kant an understanding of being as "produced pennanent presence". I approach these aims by examining a number of Kant's texts in detail, focusing particularly on Kant's theses about existence and being in The One Possible Basis for a Demonstration of the Existence of God and the Critique of Pure Reason; on Kant's philosophy of nature and dynamical matter in the Transcendental Analytic and Metaphysical Foundations of Natural Science; on Kant's doctrine of experience and objectivity in the Transcendental Deductions; on ontological reflection and the productive comportment of "life" in the Critique of Judgment; and on Kant's final theory of matter, life and production in the Opus Postumum. (shrink)

The article considers the possibility of using digital scientific art as a tool for philosophical and aesthetic cognition. On the example of games of cellular automata and from the point of view of the paradigm of synergetics, a large-scale analogy of the dynamics of multi-element distributed systems of various natures is revealed. The question is raised about the nature of beauty, which is interpreted as a fundamental cosmic phenomenon. The concept of protoconstruct is viewed as a mental (mathematical, digital) object, (...) the properties of which are transferred to the objects and phenomena under study. As an example of digital protoconstructs, the article discusses the so-called cellular symmetroids. Cellular symmetroids can be considered from the point of view of scientific art as art objects. At the same time, they represent a deep ontological metaphor. A unique property of cellular symmetroids is spontaneous destruction and transition to quasi-chaotic dynamics. This feature can be linked to the idea of historical time, which is very unusual for mathematical objects. Mathematical structures that arise as a result of calculations according to this model are completely unique and inimitable, like the internal states of the soul or psyche of a thinking subject. At the same time, they are to the same extent determined (even involuntary) by the previous state. Integrity, internal unity are inherent not only in symmetric structures but also in the chaos that is born after them, which, in contrast to stereotypical statistical intuitive ideas, is deterministic. However, such an abstract digital art, based on the unconventional mathematics of dynamic chaos, is an accurate ontological metaphor, a visualization of the eidos of the beauty in their relationship with the cosmic logos and the nature of the original creative chaos. (shrink)

The purpose of this article is to introduce, interpret, and develop two incompatible process -ontological theories of personal identity that have received little attention in analytic metaphysics. The first theory derives from the notion of personal identity proposed in Alfred North Whitehead’s philosophy, but I interpret this notion differently from previous commentators. The Whiteheadian theory may appeal to those who believe that personal identity involves an entity or entities that are essentially dynamic, but has nothing to do with diachronic (...) objectual identity : the binary equivalence relation that every entity bears to itself, and only to itself, even after undergoing intrinsic change. The Whiteheadian theory may also find favor with those who, like Whitehead, reject the possibility of pure processes and hold that in every becoming, something—which need not be an object, thing, or individual substance—becomes. The second theory derives from the notion of recurrent dynamics presented in Johanna Seibt’s General Process Theory. The Seibtian theory may appeal to those who believe that personal identity involves not only an entity or entities that are essentially dynamic, but also the relation of diachronic objectual identity. The Seibtian theory may also find favor with those who, like Broad and Sellars, find reason to postulate pure processes. (shrink)

Dewey’s social ontology could be characterized as a habit ontology, an ontology of habit qua second nature that offers us an account of intentionality, social statuses, institutions, and norms in terms of habituations. Such an account offers us a promising alternative to contemporary intentionalist and deontic approaches to social ontology such as Searle’s. Furthermore, it could be the basis of a social ontology better suited to explain both the maintenance and the transformation of social reality. (...) In the first part I will characterize Dewey’s model as a social ontology based on the notion of habit, and present it as an alternative to intentionalist approaches to social reality. In the second part I will argue that habit ontology offers us an account of social norms that is based on a peculiar understanding of the notion of ‘status’, and represents an alternative to deontic accounts. In the third part I will claim that Dewey’s notion of “public” offers us a dynamic understanding of social institutions and a ‘reactive’ notion of collective intentionality as an achievement rather than as a presupposition of social practices. In the final section I will summarize some advantages of the Deweyan over the Searlean social ontology concerning our understanding of acceptance, maintenance and transformation of statuses, and of the role played by the ‘background’. (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)

While the terrorism studies literature speaks of a shape of terrorism unique to modernity, the exact nature of modern terrorism, let alone the nature of modernity or its starting point, remain much in dispute. In this article we suggest that the confusion and conflict within the literature arises from a tendency to focus on certain outward or inessential features associated with modernity. In order to truly answer the question of what makes modern terrorism modern, the question needs to be set (...) on a new footing, one which inquires into the necessary and not instrumental relationship between modernity and terrorism—i.e., that inquires into the possibility of an inner dynamic which can take us from the nature of modernity itself to terrorism. In this article we suggest that the intellectual resources for an understanding of modern terrorism in the fullest sense can be found within the preeminent nineteenth-century philosopher of the birth of the modern, G.W.F. Hegel. More specifically, through a reconstruction of Hegel’s account of the French Revolution we can uncover the possibility of understanding modern terrorism as an ontological rather than a temporal category. In other words, we can uncover resources that help us grasp what modern terrorism is, rather than in what age—with its instrumental possibilities given by, say, technology or ideology—it is found. What makes modern terrorism truly modern, we will argue, is a particular shape of self-consciousness that, Hegel shows us, stands as the deep structure of early modernity, and which contains within it an inner dynamic towards a uniquely modern shape of terrorism. While all terrorism that occurs within modernity is not modern, a truly modern terrorism can be identified. (shrink)

Aim: The aim of this paper is to present the development and evaluation of an art psychotherapy brief treatment method for complex depression for patients referred to mental health services.Background: Art Psychotherapy literature describes a range of processes of relational change through the use of arts focused and relationship focused interventions. Complex depression has a prevalence of 3% of the population in the West and it is recorded that in 2016 only 28% of that population were receiving psychological treatment. This (...) study was developed to test the hypothesis of whether an accessible and acceptable approach to the treatment of complex depression could be developed in relation to existing evidence-based practice within mental health services.Method: The United Kingdom Medical Research Council phased guidance for complex intervention development was used to develop the intervention. The process included producing a literature overview, systematic description of clinical practice, including a logic model and a clinical protocol. The art psychotherapy protocol described an arts-based dynamic interpersonal therapy approach, offered 1:1 over 24 sessions. Further to this the intervention was tested for referrer acceptability. The intervention is in the early stages of evaluation, using changes to the patient's depression and anxiety measured pre- and post-treatment with a follow-up measure at 3 months following completion of treatment.Results: Phase I of the study provided a good basis for developing a logic model and protocol. The authors found that there was good clinical consensus about the use of a structured clinical art psychotherapy method and the literature overview was used to support specific examples of good practice. The verification of clinical coherence was represented by a logic model and clinical protocol for delivering the intervention. The acceptability study demonstrated very high levels of acceptability for referrers reporting that ADIT was acceptable for patients with complex/major depression, that they were likely to refer to ADIT in the future that the use of arts was likely to improve accessibility the use of arts was likely to improve outcomes and that offering ADIT was an effective use of mental health resources.Discussion: Phase I of this intervention development study demonstrated theoretical and practice coherence resulting in a clinical protocol and logic model. Whilst Phase II of this study showed promising results, Phase II would need to be sufficiently scaled up to a full trial to further test the intervention and protocol. (shrink)

In this paper, comparative philosophy from the point of view, accusing both the freedom of human existence is related to: human freedom is the freedom in the relationship, human relationship is the relationship in freedom. Today, however, are in a rapidly changing technology and globalization are shaping the technology products and among the diverse network of his freedom and development of their relationship. For me, if not free then there is no leisure at all, even the Bliss half a day, (...) lazy nothing, if not the hearts of freedom, can not be relaxed. This paper attempts to analyze the relationship between work and leisure, beyond the ancient Greek society and the modern discipline of social work and leisure are assumed binary opposition, and inquire for a more balanced point of view, to redefine humanity. I will be free, easy to create with pleasure and delight as the four leisure in the state of existence. Accordingly, we will discuss today are due to inhibition of the free course of commercialization and mechanization brought leisure life crisis. This will re-interpretation of Taoism into the spirit of art and technology in the Road and Freedom, by Taoist philosophy, some ideas to inspire today's humans, how the dynamic relationship among the ontology freedom to think and inquire, and practice the art of life through to achieve free life. From my philosophy of contrast, I understand human being today as both free and related, in the networks of multiple others and technical objects developed by science / technology and the process of globalization. For me, without freedom there is no leisure. By the mediation of technical objects today, human desire tends to develop in various networks of multiple others in order to gain its own freedom. This paper will analyse the relation between work and leisure, attempting to go beyond the presupposed dichotomy of work / leisure in both modern " disciplined society "and ancient Greek society, and to look for a more balanced view of their relation in redefining the nature of human being. This understanding will allow us to proceed to characterize the state of being in leisure as freedom, being-at-ease , creativity and joyfulness. An attempt will be made ​​to characterize the crisis of today's leisure life in reference to its commercialization and mechanicalization. Also, we will try to obtain some inspirations from Daoist philosophy as to the idea of freedom in the dynamic ontology of relationship with the Daoist art of life-praxis. (shrink)

This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience by engaging in a (...) paradoxical practice of creating what McLuhan called “anti-environments.” Part One relates Lauschmann’s art to three concepts surfacing in McLuhan’s late work: “figure,” “ground,” and “anti-environment.” Part Two relates Lauschmann’s art to Merleau-Ponty’s critique of photography in terms of the ontology of dynamic movement. Part Three relates Lauschmann’s art to Heidegger, implying a form of “affective critique” that — by questioning the environmental conditions that constitute works of art — points beyond vexed aspects of Heidegger’s approach, such as its apparent pessimism and tendency to homogenize disparate technologies. The essay’s broader argument is that Lauschmann’s art, like the philosophical reflections to which it is related, is engaged in a practice of challenging settled common-sense notions regarding technologically mediated experience. (shrink)

This article examines Pierre Hadot’s rejection of the “purely spiritual” and “transcendent” philosophy of Plotinus as a viable philosophy of life. Despite an initial attraction to the Enneads, Hadot eventually concluded that the mystical quest of Plotinus was unrealistic and unacceptable because it required one to forsake the experience of the spiritual and ineffable in the concrete and the practical. I argue that Hadot’s critical assessment does not adequately appreciate the “descent vector” that is integral to Plotinus’s conception of the (...) One. His mysticism requires reference not only to the efficacy of Intellect and the One but also to embodiment and creative participation in the everyday affairs of worldly existence. Plotinus cannot abandon the implications of the bi-directional dynamic of the One as it generates the richly diverse, beautiful cosmos. The profile of proper living extends across the ontological spectrum, observing the demarcations and dynamic affiliations, from the One to concrete materiality. (shrink)

Mawlana Jalaluddin Rumi (1207–1273), the Sufi seer-poet, is known for his liberal mystic poetry, which deals with the esoteric aspects of Islamic religion. His poetry stands as a contrast with the contemporary conservatism in the Islamic world. While, Sri Aurobindo (1872–1950), a politician and mystic poet-philosopher of the last century, revived the voice of the 13th-century Sufi poet in his poetry and philosophical treatises. Both Rumi and Sri Aurobindo envisioned a world governed by love and harmony and they knew that (...) it could only be attained through cosmic consciousness by helping human beings to transcend their egoistic impulses and to become selfless and altruistic. Love is a dominant metaphor in their poetry, a love that evolves from personal to universal, helping the individual to realise the feeling of harmony and unity. Hence, the present paper is premised on Rumi’s Divan-e-Shams and Rubaiyat and Sri Aurobindo’s sonnets, lyrics, and some major treatises to analyse the dynamics of love in detail and its progress to a feeling of cosmic love and integration. The theoretical framework of this analysis is based on various perspectives on love and its transformation from sensual to spiritual. (shrink)

In her Investigation Concerning the State, Edith Stein takes up some of the main ideas of the social ontology presented by Adolf Reinach, and develops a social ontology of the state, of the law and of social acts. I argue that Stein’s social ontology is an eidetics of the state, the law and social acts. Stein identifies the essential relations that constitute the state, the law and social acts, i.e. pinpoints the parts upon which the state, the (...) law and social acts existentially depend as wholes. In doing so, Stein applies Husserl’s account of wholes and parts to the social domain. I also suggest that Stein outlines a regional ontology of sociality that embodies Husserl’s idea of regional ontology. I focus on the intertwining of the wholes-parts relations, which characterize Stein’s regional ontology of sociality, and argue that there are not only necessary but also possible parts within the wholes. This makes Stein’s regional ontology of the sociality a dynamic ontology. (shrink)

A model of reality is called separable if the state of a composite system is equal to the union of the states of its parts, located in different regions of space. Spekkens has argued that it is trivial to reproduce the predictions of quantum mechanics using a separable ontological model, provided one allows for arbitrary violations of ‘dynamical locality’. However, since dynamical locality is strictly weaker than local causality, this leaves open the question of whether an ontological model for quantum (...) mechanics can be both separable and dynamically local. We answer this question in the affirmative, using an ontological model based on previous work by Deutsch and Hayden. Although the original formulation of the model avoids Bell’s theorem by denying that measurements result in single, definite outcomes, we show that the model can alternatively be cast in the framework of ontological models, where Bell’s theorem does apply. We find that the resulting model violates local causality, but satisfies both separability and dynamical locality, making it a candidate for the ‘most local’ ontological model of quantum mechanics. (shrink)

Rajiv Kaushik’s Art, Language and Figure in Merleau-Ponty continues the work begun last year in Art and Institution by exploring the ontological grounds upon whichMerleau-Ponty locates the continuity of philosophy with the visual arts. The mission and the privilege of art are to allow the invisible to appear in its own terms. As such, artpossesses the potential of completing the endeavors of philosophy by bringing the world to expression without abusively bringing it to visibility. Kaushik’s analyses of Merleau-Ponty’s concept of (...) “figural philosophy,” of the relevance of Merleau-Ponty’s reading of Saussure for his philosophy of art, and of the dynamic and ontological potential contained in the tracing of a line are profound and each makes decisive contributions to the study of Merleau-Ponty’s aesthetics. In addition to these, Kaushik’s analysis of artworks and artists such as Cy Twombly allow him to make this more than a book about Merleau-Ponty’s philosophy or a book about art; it is a book that enacts their continuity as it describes it, in true hyper-dialectical fashion. (shrink)

라투르는 근대인들이 자연과 사회, 비인간과 인간, 과학과 정치, 객체와 주체를 분리시키는 정화 작용과 뒤섞는 매개 작용을 모두 사용했음에도 정화 작용만을 내세움으로써 기후 위기와 같은 하이브리드들을 폭발적으로 증가시켰다는 문제의식에서 출발하여 대안적 존재론을 쓰기 위한 기획으로 나아간다. 하이브리드들은 준대상, 준주체, 매개자, 집합체 혹은 연결망들로 기존의 객체와 주체라는 이분법적 존재론적 판형으로는 기술될 수 없다. 그런데 근대의 이분법을 극복하면서 객체와 사물, 사실의 문제와 관심의 문제, 그리고 정치에 있어서는 하나와 여럿을 오가는 원운동이 발생한다. 이는 라투르가 근대의 이분법을 폐기하는 것이 아니라 대안적 존재론에 포괄하기 때문이다. 원운동은 (...) 예술작품의 이행을 통한 연결망 확장에서도 나타난다. 예술 작품은 시간, 공간 그리고 행위소라는 삼중의 이행을 통해 궤적을 그리면서 확장되는데, 성공적인 이행은 작품의 존속을 공고히 하고 더 많은 이행을 가능하게 하면서 예술 작품의 가치를 강화한다. 이런 이행에 예술 작품과 관련된 사건들을 포함시킴으로써 작품을 평가하는 새로운 기준을 제시할 수 있다. 하나의 예술 작품은 단지 그 작품이 보여주는 재료와 형식 사이의 내적 조화뿐만 아니라 그 작품이 놓여있는 연결망, 특히 그 작품의 시공간적인 위치와 시간 속에서 겪게 되는 다양한 사건들이 작품을 평가하는 중요한 기준이 된다. (shrink)

In this thesis I provide an interpretation of Kant's theories of knowledge, nature, and being in order to argue that Kant's ontology is a productive ontology: it is a theory of being that includes a notion of production. I aim to show that Kant's epistemology and philosophy of nature are based on a theory of being as productivity. The thesis contributes to knowledge in that it considers in detail Kant's ontology and theory of being, topics which have (...) generally been ignored or misunderstood. In arguing for Kant's productive ontology, I argue against Heidegger's interpretation of Kant, which states that Kant understands being as "produced permanent presence" or as divinely created materiality. Based on Kant's definition of being as positing, I argue, by contrast to Heidegger, that Kant understands being as the original productive relation between subject and object. This can also be expressed as the relation between formality and materiality, or between epistemic conditions and existence, that is productive of objects of experience. Being is not producedness but a relation of productivity, through which both subject and object are themselves productive. The subject is productive in its spontaneity, and nature, determined as dynamical interaction, is interpreted as productive. The subject, I will argue, does not understand nature as produced, but approaches it with a comportment towards its production as object of experience. Because of its own subjective productivity - spontaneity or "life" - the subject has a "productive comportment" towards nature. Ontology, I claim, concerns the realm of the productive relation of being, the realm of the relation between epistemic conditions and existence, and therefore the realm of possible experience. This marks Kant as divergent not only from what Heidegger calls "the ontology of the extant", but also from the concept-based ontology of the German rationalists. The general aims of the thesis are, first, to argue that being for Kant is the original relation between subject and object, and that ontology concerns this relation; second, to argue that ontology and being are understood in terms of production and productivity; and third, to argue that Heidegger is wrong to ascribe to Kant an understanding of being as "produced pennanent presence". I approach these aims by examining a number of Kant's texts in detail, focusing particularly on Kant's theses about existence and being in The One Possible Basis for a Demonstration of the Existence of God and the Critique of Pure Reason; on Kant's philosophy of nature and dynamical matter in the Transcendental Analytic and Metaphysical Foundations of Natural Science; on Kant's doctrine of experience and objectivity in the Transcendental Deductions; on ontological reflection and the productive comportment of "life" in the Critique of Judgment; and on Kant's final theory of matter, life and production in the Opus Postumum. (shrink)

This essay represents a reflection on the nature of shufa, the Chinese “art of writing,” and its ontological grounding as a continuous, “durational transcription,” of an inscriptional event, producing a phenomenology of “viewing.” This distinguishes it from ordinary writing (xiezi) in which attention is focused on the lexical meaning of the written characters (i.e., an experience of “reading”). Viewing a calligraphic inscription actually unfolding in time (i.e., as a dynamical structure or “temporal object event”), however, raises an interesting theoretical question (...) concerning the two complementary aspects of temporal consciousness of calligraphy as both duration and unity. This will be addressed in terms of recent discussions of a dynamical approach to Edmund Husserl’s theory of time consciousness. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our knowledge (...) is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin (...) and end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

A novel conceptual framework is introduced for the Complexity Levels Theory in a Categorical Ontology of Space and Time. This conceptual and formal construction is intended for ontological studies of Emergent Biosystems, Super-complex Dynamics, Evolution and Human Consciousness. A claim is defended concerning the universal representation of an item’s essence in categorical terms. As an essential example, relational structures of living organisms are well represented by applying the important categorical concept of natural transformations to biomolecular reactions and relational structures (...) that emerge from the latter in living systems. Thus, several relational theories of living systems can be represented by natural transformations of organismic, relational structures. The ascent of man and other living organisms through adaptation, is viewed in novel categorical terms, such as variable biogroupoid representations of evolving species. Such precise but flexible evolutionary concepts will allow the further development of the unifying theme of local-to-global approaches to highly complex systems in order to represent novel patterns of relations that emerge in super- and ultra-complex systems in terms of compositions of local procedures. Solutions to such local-to-global problems in highly complex systems with ‘broken symmetry’ might be possible to be reached with the help of higher homotopy theorems in algebraic topology such as the generalized van Kampen theorems (HHvKT). Categories of many-valued, Łukasiewicz-Moisil (LM) logic algebras provide useful concepts for representing the intrinsic dynamic ‘asymmetry’ of genetic networks in organismic development and evolution, as well as to derive novel results for (non-commutative) Quantum Logics. Furthermore, as recently pointed out by Baianu and Poli (Theory and applications of ontology, vol 1. Springer, Berlin, in press), LM-logic algebras may also provide the appropriate framework for future developments of the ontological theory of levels with its complex/entangled/intertwined ramifications in psychology, sociology and ecology. As shown in the preceding two papers in this issue, a paradigm shift towards non-commutative, or non-Abelian, theories of highly complex dynamics—which is presently unfolding in physics, mathematics, life and cognitive sciences—may be implemented through realizations of higher dimensional algebras in neurosciences and psychology, as well as in human genomics, bioinformatics and interactomics. (shrink)

This article maintains that Jean-Paul Sartre’s early masterwork, Being and Nothingness, is primarily concerned with developing an original approach to the being of consciousness. Sartre’s ontology resituates the Cartesian cogito in a complete system that provides a new understanding of negation and a dynamic interpretation of human existence. The article examines the role of consciousness, temporality and the relationship between self and others in the light of Sartre’s arguments against “classical” rationalism. The conclusion suggests that Sartre’s departure from (...) modern foundationalism has “postmodern” implications that emerge in the areas of ontology, existential analytics and the ethics of human freedom. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print (...) class='Hi'>ontology, the most plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

To most interpreters, the case seems to be clear: Plotinus identifies matter and evil, as he bluntly states in Enn. 1.8[51] that 'last matter' is 'evil', and even 'evil itself'. In this paper, I challenge this view: how and why should Plotinus have thought of matter, the sense-making ἔσχατον of his derivational ontology from the One and Good, evil? A rational reconstruction of Plotinus's tenets should neither accept the paradox that evil comes from Good, nor shirk the arduous task (...) of interpreting Plotinus's texts on evil as a fitting part of his philosophy on the whole. Therefore, I suggest a reading of evil in Plotinus as the outcome of an incongruent interaction of matter and soul, maintaining simultaneously that neither soul nor matter are to be considered as bad or evil. When Plotinus calls matter evil, he does so metonymically denoting matter's totally passive potentiality as perceived by the toiling soul trying to act upon it as a form-bringer. As so often, Plotinus is speaking quoad nos here rather than referring to 'matter per se' (for Plotinus, somewhat of an oxymoron) which, as mere potentiality (and nothing else) is not nor can be evil. In short: matter is no more evil than the melancholy evening sky is melancholy -- not in itself (for it isn't), but as to its impression on us who contemplate it. As I buttress this view, it will also become clear that matter cannot tritely be considered to be the αὐτὸ κακόν as a prima facie-reading of Enn. 1.8[51] might powerfully suggest, but that the αὐτὸ κακόν, far from being a principle of its own, has to be interpreted within the dynamics of Plotinus's philosophical thinking as a unique, though numerously applicable flaw-pattern for all the single κακά (hence the Platonic αὐτό). To conclude, I shall offer a short outlook on the consistency of this interpretation with Plotinus's teaching on the soul and with the further Neoplatonic development of the doctrine of evil. (shrink)

The use of AI-generated videos centered on the face raises various concerns among professionals and audiences due to the difficulty of providing coherent descriptive tools of their cultural significance. At the same time, the focus of artists and their audiences shifts from the art as a text to the collaboration process between artificial intelligence (AI) and the involved social actors. This raises significant concerns between policymakers and other social actors looking for guidelines for the appropriate use of AI as a (...) tool, collaborator or substitute for creative workers, which can have immediate and long-term impacts on society and culture. Semiotics of culture provides descriptive tools for understanding and evaluating artistic texts and their role in semiotic space, the semiosphere. This article addresses how Lotman’s theory can contribute to the methodology for analyzing AI-generated texts as dynamic models. The theoretical framework developed by Lotman in his research on artistic text, dynamic systems and culture can be applied to the studies of current shifts related to AI-generated arts. This paper looks at the reception of AI-generated videos focused on face representations. In doing so, it analyses the dynamic processes in the creation process of AI-generated videos through their reception in related texts. The findings of this article highlight how Lotman’s theoretical framework can contribute to the methodology to analyze the cultural dynamics evoked by AI-generated artistic texts. (shrink)

In the context of the contemporary emergence of a “postmodern Kierkegaard,” I take issue with the idea that Kierkegaardian thought involves an anti-essentialist rejection of ontology. I argue that Kierkegaard’s keynote existential analysis is paralleled by, if not tacitly set within, a less developed yet explicit ontology of human being. This “subjective ontology” is at once an ontology of the existing subject and a subjectization of ontology. Thus, the essay has two aims. First, I seek (...) to revive and advance debate concerning the structure of the Kierkegaardian self by tracing something of its dynamic three-fold relational structure and various metaphysical polarities. Spirit, anxiety, and despair need to be understood in their ontological dimensions and not just as existential possibilities. Second, I propose a way of bringing together Kierkegaardian existentiality (the three stages) with his ontology (the three relations). Despite important asymmetries between these two structures, the unity of Kierkegaard’s approach can only be appreciated through viewing them synoptically. (shrink)

Drawing from a Sellarsian realist-naturalist epistemology, we trace different levels of cognitive hierarchy procedures through which a representational system learns to update its own states and improve its ‘map-making’ capabilities from pre-conscious operations which modulate base-localization functions, to patterns of epistemic revision and integration at the conceptual and theoretical levels, producing a nomological double of its world. We show how ontological theorization becomes diachronically coordinated with and constrained by empirical science, and how the formal-quantitative kernel of scientific theories corresponds to (...) qualitative-conceptual determinations at the structural level. Following Johanna Seibt’s characterization of ontology as a theory of categorial inference, we trace the preservation of inferential semantic structure across ontological theories in relation to model languages and provide provisional indications to coordinate Seibt’s account with a convergent realist assessment of systematic modeling, defining the epistemological conditions for articulating the preservation of formal structure in theories toward a limit-point of enquiry. (shrink)

When Vladimir Umanets entered the Tate Modern on October 7, 2012 and defaced Rothko's Black on Maroon, he was operating, not as an artist or a vandal, but as a Yellowist. Yellowism is neither art nor anti-art but is instead a supposedly new cultural element that exists for its own sake and is about nothing but the color yellow. It might be tempting to write Yellowism and the Rothko defacement off as a mere prank or as pseudo-intellectual fraud, but I (...) argue that, intentionally or not, the Yellowists have raised salient issues salient to those invested in both the ontology of art and social ontology more generally. In particular, their actions highlight issues pertaining to the relationship between stipulation and ontology. I explore these issues in this paper. (shrink)

The paper discusses the relationship between time and understanding in Heidegger’s phenomenological-ontological hermeneutics. Even thanks to an innovative concept of understanding as an open and projecting dimension, Heidegger can reach the qualitative, dynamic and differential concept of time, which is the basis of the Daseinsanalyse in Sein und Zeit. Only if comprehension is meant as a primary phenomenon can time be thought as an ecstatic disclosedness, i.e. an original, ontologically inderivative, unprogrammable non-functionalistic and essential temporality, which always involves and (...) concerns us. (shrink)

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the (...) dynamic interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

Virtually everyone who has advanced an ontology of art has accepted a constraint to the effect that claims about ontology should cohere with the sort of appreciative claims made about artworks within a mature and reflective version of critical practice. I argue that such a constraint, which I agree is appropriate, rules out a one-size-fits-all ontology of contemporary visual art (and thus of visual art in general). Mature critical practice with respect to contemporary art accords artists a (...) significant degree of stipulative authority regarding the features and boundaries of their works. This results in ontological variation among visual artworks. Any claim to the effect that all works belong to the same ontological category will thus come out false or uninformative. Interesting, substantive claims about ontological status can be made only in relation to specific works; that is, we must consider the ontological status of each contemporary artwork individually. The only general ontological claim that can be made about visual artworks (and also about artworks in other forms) is that they belong to the sort of thing that artists create. But this is not a substantive ontological claim. (shrink)

This paper explores some issues concerning the ontology of photography. It would appear that photography’s ontology bears some significant specificities comparing with other art forms. First, the study of negative film and printed photograph relations shows us that photography has a multi-layered ontology, since although the latter is ontologically dependent upon the former, it stands autonomously as work of art. Second, I will consider the problem of forgery in photography. It seems that photographs are autographic and allographic, (...) fakeable and unfakeable. Third, ontological status of negative film will be explored. Apparently, current ontological categories aren’t pertinent as far as negative-photograph’s ontology is concerned. That’s why, relying on Gérard Genette ontological notions, I propose to consider the negative film as «immanence» and the printed photograph as work’s «transcendence». In this regard, printed photograph functions as a manifestation of the negative film. (shrink)

In Christ the Heart of Creation, Rowan Williams argues that Christology as expounded by the classical tradition in Western theology holds a bounty for thinking in Christian ontology about the God-world relation. In particular, he uses the work of Søren Kierkegaard throughout to show that the relation between finite and infinite, immanent and transcendent, is not competitive, and thus there need be no metaphysical problem when holding that the incarnate God-man is both fully human and divine. This essay argues, (...) however, that Kierkegaard’s own pseudonymous work cited by Williams holds the incarnation to be far more paradoxical and intellectually offensive than Williams allows. However, such priority of offense does not put an end to Christ’s central ontological position but rather shifts it to new directions in our thinking about theological ontology. Rather than Williams’ own conception of a cosmos in which the divine and non-divine are compatible and harmonious, Kierkegaard presents a doctrine of existence in which God and the human are in constant, dynamic engagement and in which temporal being bears ultimate primacy for Christian existence. (shrink)