Can the turn caused by the Protestant Reformation, which started 500 years ago, be understood in all its complexity without considering its hermeneutical aspects? Does the “actuality” of the Reformation, which addresses our present-day world, not manifest itself primarily as a hermeneutical actuality, or rather the actuality of hermeneutics? These are the questions motivating my investigation on the relationship between the hermeneutical turn of Martin Luther’s Reformation and the Schleiermacherian-Gadamerian turn of modern hermeneutics, respectively on the horizontal and the (...) vertical orientation of transcendence, with special attention to the ontological status of the sacred Word and to modernity’s experience of finitude in establishing the horizontal transcendence, which will prevail again with the Reformation. In the second part of my essay, I focus on the analysis of three modernization processes ‒ methodological awareness, practical worldly rationality, and technological functionality ‒, in which the verticalization tendencies opposed to the prevalence of the horizontal transcendence, based on the mutual interconnectedness of finitude and completeness, keep on recurring and attempt to disrupt their togetherness, counteracting the hermeneutical attitude. (shrink)

Much of the reigning research on non-religion and non-belief focuses on demographics and personality characteristics. While this is a necessary foundation on which future research may be built upon, such data does not necessarily produce theory. In many ways the dominant cultural milieu of religions along with the benign intent of some researchers force a person who holds no belief in a God to assume an oppositional identity in relation to religion. This oppositional identity tautologically sets researchers up to continually (...) define its object by the absence of something. This something cannot always function as a normative point of reference in which to tell researchers what to look for. This article provides one such normative trajectory, termed “horizontal transcendence.”. (shrink)

Much of the reigning research on non-religion and non-belief focuses on demographics and personality characteristics. While this is a necessary foundation on which future research may be built upon, such data does not necessarily produce theory. In many ways the dominant cultural milieu of religions along with the benign intent of some researchers force a person who holds no belief in a God to assume an oppositional identity in relation to religion. This oppositional identity tautologically sets researchers up to continually (...) define its object by the absence of something. This something cannot always function as a normative point of reference in which to tell researchers what to look for. This article provides one such normative trajectory, termed “horizontal transcendence.”. (shrink)

Transcendence is explored from two perspectives: the traditional concept wherein the origination of the sacred is “out there,” and the alternate concept wherein the sacred originates “here.” Each is evaluated from the perspectives of aesthetics and hierarchy. Both forms of transcendence are viewed as essential to the full religious life.

I examine challenges to images of a personal god definitive for normatively policed theism (often called “traditional theism”), questioning whether a subject can be conscious of a transcendent being. I examine the challenges to show that disappointment with such images calls for rethinking terms like “transcendence” in horizontal rather than vertical registers. Through this, I indicate an irony in yearning for transcendence, one in which there is movement toward—rather than beyond—the utterly ordinary. We will see that such (...) un-extra-ordinary transcendence makes a difference once difference is no longer determined under the hegemony of what Levinas calls “the atheistic I.” I bring together resources from feminist philosophies and Asian religions both to elaborate on the nature of the atheistic I and to rehabilitate a redeeming appreciation of the ordinary. My hope is to ameliorate disempowered estrangement by indicating ways the ordinary generates, not inhibits, becoming. However, my broader intent is to contribute to shifting sands in contemporary philosophy of religion due to recent calls for diversifying the field by including multiple religions, questioning the centrality of belief, and engaging multiple methods relevant in religious studies. (shrink)

The present study of the philosophical orientation within the poetics of Rilke and Stevens aims to show that in the context of modern poetry, transcendence, or “crossing beyond,” must be understood in two distinct senses, as vertical and horizontal projections. The usurpation of one by the other or the transfer between them distinguishes the poetry of Rilke and Stevens and makes a comparative reading particularly illuminating. The fact that Rilke and Stevens are two of the most widely invoked (...) poets in the phenomenological tradition will help to establish a modern sense of transcendence distinct from a traditional or Romantic longing for a realm above and beyond earthly existence. This would be an “immanent” transcendence, a crossing of horizons between perception and imagination or imagination and reality, by the disclosures and inventions of which, it is argued here, the more traditional notion of transcendence is usurped in distinct ways. (shrink)

This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that (...) is always already here in the immanent and reveals the ability of an object to point beyond itself. Both of these concepts are at work in Van Gogh’s art as well as modern art in general as the expansion of reality through new sight. Immanent transcendence and Van Gogh’s art are different but interconnected ways of rethinking experience beyond the limits of positivism and the myth of the given. Van Gogh’s art thus embodies a sensible world transformed. In particular, Van Gogh’s landscapes and still life series suggest the inexhaustibility of the things we so often overlook in our everyday experience. (shrink)

O objetivo deste artigo é compreender como Ernst Bloch articula as concepções de materialismo e religião. Apoiando-se especialmente em F. Schelling, Bloch elaborou uma concepção de materialismo que concebe a capacidade de transcender sem a necessidade de recorrer a um ente transcendente. É a recusa radical de qualquer forma de idolatria. Carregadas de conteúdo utópico, como indicara Feuerbach, as religiões seriam um locus privilegiado de pré-anúncio e emergência do inédito. Seria preciso, no entanto, trazer esses conteúdos para o âmbito da (...) práxis social mediante uma hermenêutica da esperança, de modo que não mais permaneçam apartados do ser humano, como se fossem predicados de um ser transcendente. Se a posição materialista contribui para trazer os conteúdos religiosos de volta para a imanência, a religião, por sua vez, contribui para libertar o materialismo de seus enrijecimentos, acrescentando-lhes conteúdos e sentidos humanos e messiânicos. Assim, ao situar a religião em um horizonte materialista, Bloch contribui, simultaneamente, para evitar que ela se degrade em ideologia e para que o materialismo não se petrifique em dogmas. (shrink)

This paper addresses the relation between Luce Irigaray’s work and politics by asking what it means to read her work locally, in place. The philosophical work of Indigenous scholar, Mary Graham, on the law of obligation, serves to ground such a local reading presenting, simultaneously, a case for a uniquely Australian philosophy. By way of suggesting possible connections between the work of Irigaray and Graham, the paper places Graham’s work on obligation alongside Irigaray’s work on the importance of a symbolic (...) re-distribution of value suggested in her philosophy of horizontal transcendence. Such a reading encourages us to consider what it means to engage work, such as Irigaray’s, in a here and now that differs from the European context of her writing. (shrink)

This paper investigates the complexity hypothesis in microbial evolutionary genetics from a philosophical vantage. This hypothesis, in its current version, states that genes with high connectivity are likely to be resistant to being horizontally transferred. We defend four claims. There is an important distinction between two different ways in which a gene family can persist: vertically and horizontally. There is a trade-off between these two modes of persistence, such that a gene better at achieving one will be worse at achieving (...) the other. At least some genes are likely to experience selection favoring increased transferability. One consequence of this can be encapsulated as the “simplicity hypothesis”: horizontally persisting genes will experience selection favoring reduced connectivity. In order to make sense of the simplicity hypothesis, we need to consider evolutionary populations that transcend species boundaries. Vertical and horizontal persistence are therefore not two competing ways of succeeding at the same game, but involve playing two different games altogether. The complexity hypothesis can be understood in terms of two related notions: entrenchment and Cuvierian functionalism. This framing reveals previously unrecognized and philosophically interesting connections between reasoning about deep conservation and horizontal transfer. (shrink)

This article argues that a pragmatist ambition to transcendence undergirds Richard Rorty’s metaphilosophy. That transcendence might play a positive role in Rorty’s work might seem implausible given his well-known rejection of the idea that human practices are accountable to some external, Archimedean standpoint, and his endorsement of the historicist view that standards of rationality are products of time and chance. It is true that Rorty’s contributions to epistemology, philosophy of mind and metaphysics have this anti-transcendentalist character. But in (...) his metaphilosophy, Rorty shows great respect for pre-philosophical impulses aimed at transcendence of some kind, in particular the romantic (and indeed religious) experience of awe at something greater than oneself, and the utopian striving for a radically better world. These impulses do not disappear in Rorty’s metaphilosophy but are reshaped in a pragmatist iteration of transcendence which, we argue, can be characterised as horizontal (rather than vertical) and weak (rather strong). We use this characterization to distinguish Rorty’s metaphilosophy from other accounts that share a postmetaphysical ambition to transcendence. (shrink)

In Richard Rorty: Outgrowing Modern Nihilism, Tracy Llanera places Richard Rorty in conversation with philosophers confronting nihilism as a “malaise of modernity.” She shows how Rortyan thought offers a horizontal and relational approach to “redemption,” as opposed to religious or philosophical paths to be saved by higher beings or ideas. This essay focuses on Llanera's redescription of Rorty and whether amplifying Rorty's use of “redemption” and “transcendence” is wise. Leaving behind this laden vocabulary might better serve Llanera's purpose (...) of illuminating a path to outgrow, rather than overcome, the anxiety of nihilism. After exploring Llanera's redescription of Rorty, the essay suggests that a different vocabulary—composed of words such as ease, hope, and comfort, and potentially as capable of supporting Llanera's overarching aim—is available in Rorty's writings. Turning to this other vocabulary might strengthen Llanera's significant contribution to the nihilism debate and to Rortyan and pragmatist philosophy more generally. (shrink)

This is the second article of a two-article series and is labeled Part II. In this article, we pick up where we left off on a clos reading of Division Two of Heidegger’s greatest work, Being and Time (1927). In the first article labeled Part I, we executed a granular analysis of a few lines and phrases in section 65 in Chapter III, section 69 in Chapter IV, and sections 72 and 74 in Chapter V on ‘primordial ecstatic, finite, unified, (...) authentic temporality’ (Heidegger 1962, 380) and ‘equiprimordiality of the unity of the ecstases’ (Heidegger 1962, 378), ‘the whitherings and horizontal schemas’ (Heidegger 1962, 416), and the ontological distinction of movement/Bewegtheit and the Western metaphysical tradition on spatialized motion/Bewegung (Heidegger 1962, 427) respectively. Attempting to show the connectedness of these problems in a manner different from Being and Time itself required a bracketing of how we renew our engagement with Plato, Aristotle, and Hegel even after Heidegger’s attempted ‘destruction’ (Heidegger 1962, 41) of the ontological and metaphysical traditions of the West. In Part I, we attempted to resume the possibility of an abstract metaphysical undertaking about a four-dimensional temporality that Heidegger could not and did not articulate in Being and Time. In this follow-up article labeled Part II, we will attempt a direct appropriation of Hegel’s The Science of Logic (1813-1816), particularly on his enigmatic introduction to the term ‘quadruplicity’ (Hegel 2010, 746) that comes at the very end of his greatest and most complex work. We will try to outline the possibility of articulating the very being of time as an interrelations-movement event beyond the succession and simultaneity of two things. This conceptualization is non-spatial, never an object of representation, intuition, or the imagination, and not reducible to the predominance of the present as the ‘now’ point. We see this work as one long preface to our own independent possibility, apart from Heidegger and Hegel, to articulate a heretofore unknown speculative phenomenological theory of four-dimensional time. (shrink)

No De libero arbitrio , a fim de provar que Deus existe, santo Agostinho recorre à demonstração da existência de elementos inteligíveis que são universais, imutáveis e superiores a alma. No entanto, o famoso e longo processo de ascensão encontra ainda outras veredas, e no De magistro o futuro bispo de Hipona chega às realidades metafísicas (e, assim, ao próprio Deus) através da análise da linguagem verbal e da comunicação. Partindo das considerações tecidas no próprio tratado, escrito em 389, este (...) artigo pretende analisar como se dá a transcendência da alma no diálogo travado entre santo Agostinho e seu filho Adeodato, e onde se cristalizam as teorias agostinianas do conhecimento e do ensino. Ao fim do trabalho, esperamos tornar manifesta a riqueza do pensamento linguístico do santo – pelo qual podemos vislumbrar suas possíveis contribuições para as mais diversas ramificações da linguística, da filosofia e da teologia – e a sutileza de seu raciocínio. Palavras-chave : Agostinho; Linguagem; Alma; Deus.In his On the Free Will , Saint Augustine, willing to prove the existence of God, demonstrates the existence of intelligible elements which are universal, immutable and superior to the soul. Other paths, however, can fulfill this famous and long ascent, and in De magistro the future Bishop of Hippo attains those metaphysical realities (and God himself) through the analysis of the verbal language. Thus, this article aims at examining, through the considerations made in the text itself, how the transcendence of the soul occurs in this dialogue between Augustine and his son, Deusdedit, in which his theories on knowledge and learning are consolidated. At the end of our work, we hope to make clear how rich Augustine’s thought is – through which we can note his possible contributions to many ramifications of linguistics, philosophy, and theology – and how subtle are his arguments. Keywords: Augustine; Language; Soul; God. (shrink)

This first article is part of a two-article series labeled Parts I and II. In Part I, we will attempt a close reading of Division Two of Heidegger’s greatest work, Being and Time (1927). We will execute a granular analysis of a few lines and phrases in section 65 in Chapter III, section 69 in Chapter IV, and sections 72 and 74 in Chapter V; those sections cover ‘primordial ecstatic, finite, unified, authentic temporality’ (Heidegger 1962, 380) and the ‘equiprimordiality of (...) the unity of the ecstases’ (Heidegger 1962, 378), ‘the whitherings and horizontal schemas,’ (Heidegger 1962, 416), and the ontological distinction of movement/Bewegtheit and the Western metaphysical tradition on spatialized motion/Bewegung (Heidegger 1962, 427) respectively. Attempting to show the connectedness of these problems in a manner different from Being and Time, itself, requires a bracketing of how we renew our engagement with Plato, Aristotle, and Hegel even after Heidegger’s attempted ‘destruction’ (Heidegger 1962, 41) of the ontological and metaphysical traditions of the West. We want to set up the possibility of reengaging Heidegger on a cryptic moment in the 1962 English translators’ footnote on the ‘swoon’ and ‘clairvoyance’ (Heidegger 1962, 436) that immediately precedes Heidegger’s great articulation of the ‘moment of vision for its time’ and the possibility of an ‘authentic understanding of fate, which is historicality’ (Heidegger 1962, 437). In Part I, we will resume the possibility of an abstract metaphysical undertaking about a four-dimensional temporality that Heidegger could not and did not articulate in Being and Time. This first article constitutes Part I, which then sets up Part II to appear in a second article. In the second article, we will attempt a direct appropriation of Hegel’s The Science of Logic (1813-1816), particularly on his enigmatic introduction of the term ‘quadruplicity’ (Hegel 2010, 746), which comes at the very end of his greatest and most complex work. (shrink)

Bafomé, a mais duradoura criação do escritor Éliphas Lévi, é um ícone do universo esotérico: é a imagem “satânica” mais conhecida da história. Na tentativa de desvendar a sua rica composição simbólica, uma exegese iconográfica será conduzida por intermédio da psicologia analítica, fundada pelo psiquiatra suíço Carl Gustav Jung. As origens de Bafomé na alquimia, na cabala e no gnosticismo serão perscrutadas e os conceitos Junguianos do inconsciente coletivo e dos arquétipos irão, em grande parte, balizar a interpretação proposta neste (...) trabalho. Tal análise será dividida em oito subáreas, entre elas: o significado do seu aspecto animalesco na escatologia cristã, o hermafroditismo na psicologia e nas ciências arcanas, as qualidades mágicas do pentagrama e a importância hermética do caduceu. Por fim, conclui-se que o Bafomé é um símbolo de self, o arquétipo da totalidade psíquica. Bafomé tem por finalidade ser uma alternativa à imagem primordial cristã de autorrealização, mais integradora e menos repressora que esta. Palavras-chave: Alquimia. Cristianismo. Magia. Psicologia junguiana. Religião e psicologia.Baphomet, the lasting creation of the French writer Éliphas Lévi, is an icon of the esoteric universe: it is the history’s best-known “satanic” image. In an attempt to unravel its rich symbolic composite, an iconographic exegesis will be conducted through the use of analytical psychology, founded by the Swiss psychiatrist Carl Gustav Jung. The origins of Baphomet in alchemy, Kabbalah and Gnosticism will investigated mostly through the application of Jungian concepts such as the collective unconscious and the archetypes. Such analysis will be divided into eight sub-areas, including: the significance of his animal appearance in Christian eschatology, hermaphroditism in psychology and the arcane sciences, the magical qualities of the pentagram and the importance of the caduceus in hermetism. Finally, we conclude that Baphomet is a symbol of the self, the archetype of psychic wholeness. Baphomet aims to be an alternative to the Christian primordial image of self-realization, more inclusive and less repressive than the latter. Keywords: Alchemy. Christianity. Jungian psychology. Magic. Religion and psychology. (shrink)

Writers in pragmatist aesthetics tend, as naturalists, to avoid the originally Kantian-Idealist term “autonomy” when discussing art and aesthetic experience. Even so, a more general autonomy concept, emphasizing that art and the aesthetic comprise a normatively special aspect of experience, is already implicit in much of the pragmatist aesthetics literature, including in John Dewey’s seminal Art as Experience. As the cultural disciplines move beyond earlier modernist- and postmodernist-era debates about art’s total autonomy from or total “heteronomous” absorption within the processes (...) of life, I argue that a more naturalistically down-to-earth version of the above general autonomy idea remains indispensable in a century of social, environmental, and existential crises whose solutions demand creative agency of a kind that artistically charged experiences can inspire. Drawing upon key pragmatist themes, I further develop the general autonomy idea by arguing that aesthetic experiences within and without the fine arts are horizontally transcendent; that art and the aesthetic answer a persistent human need for experiences that are intrinsically rewarding while also serving the instrumental function of being redemptive; that to this end, our global culture needs collectively accessible autonomous spaces within language and experience that can help people explore and interrogate the meanings of what we individually and collectively do; and that the value of our theoretical beliefs about the arts lies not in their power to represent a world supposedly independent of human thought and action but in what they lead us to do in the world. In conclusion, I illustrate this pragmatic interpretation of the general autonomy idea with a reading of Richard Powers’ novel The Overstory. (shrink)

This paper examines the nature of “asceticism” (rīyāḍat) in Sufism, revolving around the works of the 13th century Persian Sufi Mawlānā Jalāl al-Dīn Muḥammad Rūmī Balkī and exploring two critical inquiries: Firstly, it seeks to determine whether Rūmī’s mystical perspective on asceticism is world-rejecting or world-affirming. Secondly, it investigates potential parallels and divergences between Rūmī and Meister Eckhart’s stances—specifically, through the Dominican’s Sermons and Treatises—and assesses the implications for the two figures. In examining Rūmī’s works, the current research primarily relies (...) on secondary sources within the Persian intellectual tradition to provide an intracultural context. Utilizing horizontal and vertical interpretations, this study examines critical themes in Rūmī’s works, such as love, detachment (zuhd), the world’s deceptive nature, and seclusion. The findings reveal that Rūmī’s asceticism is not “monastic” (ruhbānī); instead, it balances moderate abstinence and worldly engagement, underpinned by the Quran and the ḥadīth teachings. Rūmī and Eckhart underscore asceticism as an inner transformation rather than mere physical austerity, emphasizing inner purification, self-transcendence, and spiritual detachment as routes to divine unity. The two thinkers’ teachings are catalysts for profound personal transformation and a more fulfilling life in today’s world. (shrink)

이 연구의 목적은 『장자』 의 두 가지 수양 방식에서 발견되는 자연성의 중층적 구조를 규명하는 것이다. 장자의 수양론은 타고난 자연성을 회복하는 비워내는 수양과 일상의 경험이 쌓여 새로운 자연성을 체득하는 쌓아가는 수양으로 구성된다. 전자가 노자의 초월성을 수용한 장자의 사유라면, 후자는 그 초월성을 경험적으로 해석하여 스스로 발전시킨 사유이다. 비워내는 수양은 ｢덕충부｣에서 ｢전자방｣을 통해, 쌓아가는 수양은 ｢양생주｣와 ｢달생｣을 통해 각각의 서사적 흐름을 구성한다. 이 자연성의 중층적 구조를 통해 장자의 철학은 초월과 경험이라는 상충하는 두 가지의 중첩을 허용하는 형태로 구성되었음을 알 수 있다.BR 자연성의 중층적 구조를 (...) 규명하기 위해서는 구조 간의 연결 원리를 밝혀야 한다. 필자는 두 가지 방향에서 접근한다. 첫째, 전통적 초월성을 경험적 시선에서 재해석한 수평적 초월 개념을 도입한다. 수평적 초월은 현실세계에 바탕을 두면서 자신을 넘어서는 스스로 변화하는 우리의 능력이다. ‘변화’라는 지점에서 수평적 초월과 장자철학의 접점이 발생한다. 둘째, 전통적 초월 개념의 재해석은 경험의 두 측면을 통해 이루어진다. 우리의 경험은 신체적/물리적 층위의 경험에서 은유와 상상이란 사유 방식을 통해 정신적/추상적 층위의 경험으로 확장한다. 『장자』에는 다양한 우언(寓言)과 상상의 행위에서 발생하는 여러 서사가 있다. 장자가 노자의 초월성을 수평적 초월로 재해석할 수 있는 것은 신체적/물리적 층위에서 자신의 사유를 확장했기 때문이다.BR 장자는 자연성의 중층적 구조를 통해 초월과 경험을 통합적 시각에서 사유하였다. 이것은 경험적·과학적으로 설명할 수 있는 것과 그렇지 못한 것이 우리 삶에 공존한다는 삶의 총체성을 부각한 것이다. (shrink)

Purpose. To examine the existential anthropology of G. Marcel and E. Minkowski, in order to demonstrate the necessity of distinguishing the universal-spiritual, as human in human being, apart from the individual-existential in him, and to reveal the hierarchical correlation of biosocial, existential and spiritual spheres in personality. Theoretical basis. Within existential philosophy the author differentiates two separate traditions and proceeds from the insufficiency of the distinction of existential sphere, proposed by phenomenological tradition, showing the necessity of its correlation with the (...) spiritual sphere as a sphere of humanity, proposed by non-phenomenological tradition of G. Marcel and E. Minkowski. Originality. The author presents the anthropological conception of G. Marcel and E. Minkowski, in which human personality is understood as unity of individual-existential and universal-spiritual, which requires a special trans-empirical field of culture, which contains senses, images and symbols of humanity. Also, the author presents the recent developments of existential thinkers in distinguishing existential and spiritual dimensions, both not reducible to the physical and social dimensions. Conclusions. In both existential traditions, the specifically human was founded as a trans-biological and trans-social phenomenon, which appears as indefinable and non-predetermined. But in first tradition, humanity is understood as an existence, as a unique individuality, "project", variant of humanity, equivalent to other variants, and universal is understood as a community of human condition in the world. While in the second tradition, the universal is understood as spiritual. Thus, horizontal level of our private existence, as the process of movement from birth to death, is supplemented by vertical of human, universal ideals and images. Humanity appears as a task, on the way to which human being transcends beyond the limits of his individual "self" to the "super-individual", through inclusion into spiritual community, into universal culture. (shrink)

The paradoxical perspective of bioethics supposing its explication as deconstruction is analysed in the article. The evolution of the program of deconstruction and its unexpected convergence with bioethical discourse is traced. Moreover, this discourse as itself can be considered as deconstruction of ethical thought. Bioethics in this case comes out as radicalization of ethics. Such kind of radicalization is necessary versus logocentric pressure and imposed consideration of human from the standpoint of so-called life sciences. Radicalization of ethics reveals insolvency of (...) the liberal form of bioethics, reducing human essence to the totality of biological and social needs. At the same time conservative bioethics demonstrates heuristic potential coming from unique human ability for transcendence. Further, the logic of the development of bioethics allows to introduce the idea of bioethos as rhizomic, horizontal structure capable to become the alternative to the logocentric directons. (shrink)

This essay will move toward a phenomenology of “more” in ten steps. 1st, situates the investigation within the tradition of Husserlian phenomenological practice, then 2nd draws upon Husserl’s own experience of doing phenomenology. 3rd considers some initial aspects of the structure of the lived experience of “more” and 4th is about the number series, while 5th addresses the primal experience of time, space, and movement. 6th focuses on the phenomenological notion of horizons, then 7th turns to the related question of (...) transcendence. 8th takes a critical look at a particular conceptual model sometime used in thinking about the experience of “more”; 9th briefly brings out one of the ethical implications of this critique; and finally, 10th highlights some of the ways in which the research documented here is itself still incomplete and demands “more”.Este ensayo se moverá hacia una fenomenología de "más" en diez pasos. El prime-ro, sitúa la investigación dentro de la tradición de la práctica fenomenológica husserliana; luego, el segundo se basa en la propia experiencia de Husserl de hacer fenomenología; el tercero considera algunos aspectos iniciales de la estructura de la experiencia vivida de "más" y el cuarto es sobre la serie numérica, mientras que el quinto aborda la experiencia primordial de tiempo, espacio y movimiento. El sexto se centra en la noción fenomenológica de horizontes; después el séptimo pasa a la cuestión relacionada con la trascendencia. El octavo echa una mirada crítica a un modelo conceptual particular usado en algún momento para pensar sobre la experiencia de "más"; el noveno destaca brevemente una de las implicaciones éticas de esta crítica;y, finalmente, el décimo resalta algunas de las formas en las que la investigación aquí documentada todavía está incompleta y exige "más". (shrink)

En medio del constante replanteo que la filosofía y las ciencias humanas en general han venido haciendo de nociones básicas como la de 'existencia', un horizonte de planteo intercultural permitirá acoger mejor las demandas de las sociedades contemporáneas cruzadas por diferentes centros histórico-culturales y por el fenómeno común de los movimientos sociales exigiendo cada uno reconocimiento de sus propios derechos. Se concibe tal planteo como una 'odisea de la libertad', ya que intenta perseguir el difícil camino de la libertad -en (...) tanto poder ser- hacia la realización de sí mismo, en relación al reconocimiento de sí y de los otros, en el ámbito comunitario y político. Sin olvidar la buena relación con la naturaleza y el cosmos y con lo que trasciende a cada realidad, en tanto abrigo de infinitud en el ámbito artístico y religioso. Se advierte entonces que el camino a la libertad atraviesa todo tipo de dificultades. Amid the constant reconsideration of basic notions such as "existence" by philosophy and human sciences, an intercultural proposal will give a better response to the demands of contemporary societies, which are crossed by different historical-cultural centers and by the common phenomenon of social movements claiming for their own rights. Such proposal is conceived as "an odyssey of freedom", since it pursues the hard path of freedom-as possibility to be-towards his own realization and regarding his own and others' acknowledgement in the community and political sphere, not forgetting the good relationship with nature and the cosmos and with what transcends each reality, as a shelter of infinity in the artistic and religious field. It is then noticed that the path to freedom undergoes all kinds of difficulties. (shrink)

ZUSAMMENFASSUNGAusgehend von der Diskussion um Samuel P. Huntingtons Analyse vom »Kampf der Kulturen « argumentiert der Verfasser, dass in der Situation des religiös-weltanschaulichen Pluralismus ein »dialogischer Imperativ« zum Dialog der Kulturen besteht. Da Kulturen historisch wie systematisch in einem Kultus begründet sind, muss ein solcher Dialog die Religionen einschließen und aus einer religiösen Perspektive theologisch begründet werden. Um die Alternative zwischen einem abstrakten Universalismus der aufklärerischen Vernunft und einem relativistischen Kulturalismus zu überwinden, muss radikale Perspektivität mit der Wahrheitsfrage im Konzept (...) einer dialogischen Vernunft verbunden werden. Im Horizont der reformatorischen Einsicht in die Konstitution der Wahrheitsbeziehung des Glaubens erweist sich dabei das Verständnis Gottes und seiner Beziehung zur Welt als Gespräch als konstruktiver Leitfaden.SUMMARYAgainst the background of Samuel P. Huntington's analysis of the “clash of civilizations” the author argues that the situation of religious and ideological pluralism confronts us with a “dialogical imperative” for the dialogue of cultures. Since culture is historically and systematically based in a cult such a dialogue must include the religions and should be justified theologically from a religious perspective. In order to transcend the alternative of an abstract universalism of Enlightenment reason and a relativistic culturalism, radical perspectivism should be combined with the question of truth in the conception of a dialogical reason. In the context of the view of the constitution of the certainty of faith in Reformation theology the understanding of God and his relationship to the world as conversation is proposed as a constructive guideline. (shrink)

The paper aims to examine the meaning of sacredness in such a religion as Buddhism where there is no idea of God or any supernatural being. Instead, there are elaborated inner practices for achieving enlightenment. The paper consists of two parts. The first one analyses the place of the sacred in Buddhism considering the two important concepts of samsara and nirvana. The second part discusses sacred places in Buddhism comparing two different space structures: stupa as representative for a vertical structure (...) and mandala for a horizontal one. On the base of juxtaposing these seemingly opposite concepts and structures the paper reveals that in terms of Buddhism the real sacredness is non-sacredness: a term that transcends the opposition sacred-profane and expresses the specific Buddhist vision of non-duality.Key words: Buddhism; sacred-profane; non-duality. (shrink)

Is freedom and capability enough to sustain our well-being? For human flourishing to progress, defer, and avoid decline, managers as persons must grow in virtue to transcend to the ultimate source of the good. In our definition of a person we develop an anthropology of gift through the communication of one self to another and whose form is love, the willing the good of the other. We ask four questions about the humanistic manager as a person: what is the goal, (...) end, good; what form, structure guides the manager; what materials, resources, technology, and context does the manager use within the structure to meet the end and exceed the goals, what is the means of effecting the change needed to meet the manager’s goals. Each of these questions form the basis to construct a philosophical anthropology of humanistic management. To these four questions we add three types of finality: the usual absolute terminal and horizontally immanent finalities plus the vertical finality of every growing and developing person among other persons in community. The need for a philosophical anthropology derives from a concomitant ethical requirement of what does and ought the manager, as person, undertake. What and how the person knows, wills, acts on provides the reality within which the manager, as person, operates. Along the way we will visit topics of transcendence, secularism, vulnerability, authentic personhood, and virtue. We conclude with a description, which is a dynamically evolving scheme of the meaning of a manager in the world, the social, and perhaps, the terminal goods of order. We move far from the _homo farber_ of a technology-led world whose thought conforms being. We have begun to extend our manager into the species _homo transcendens_ where being conforms thought and responsible action. We conclude with a sketch on the emerging role of spirituality in the workplace with connections to compassionate leadership, organizations as sites for healing and growth, and examples from the experience of humanistic organization who seem to have survived and thrived centuries of global operations. From an anthropology of gift we can identify several implications for managers. Humanistic management education would subsume the rational choice hegemony of economic modeling to a technological subset of tools, subject to the goals and nature of human persons. The scientism of thinking that psychology, sociology, political science, and economics would suitably describe, explain, and model human decisions would be replaced by an overarching framework leading to higher levels of knowledge, especially wisdom based educational experiences and content based on the natural integrity of human beings as learners. Since all technology follows, rather than leads, persons in an anthropology of gift, workplace practices would be founded in the structures immanent in persons and communities of persons. This would imply practices which transcend appraisal and assessment of performance to heights of contemplation and implementation of meaning in every task. Instead of beginning with a deficit of “what’s in it for me?” practices can begin with the surplus “how can I help you?” Proposed are practices which impound wisdom-based attributes of compassion, active listening, alterity, mercy, companionate and agapic love in decision analyses, interpretations of results, and incentives. The objective of the humanistically managed organization under the aegis of an anthropology of gift would be to minimize the maximum grief for the the most vulnerable. The objective would be applied as a policy across all authorities delegated by jurisdictions over organizations, and by boards, oversight groups, over decisions within organizations. This view from an anthropology of gift is consonant with emerging definitions of organizations as healing spaces where a balance of solidarity and subsidiarity guide decisions as opposed to simplistically applying supply and demand trade-offs. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

The article argues that the structure of self-realisation is bipolar, and that genuine self-realisation should be conceptualised as a phenomenon of connectedness manifesting itself simultaneously in both a horizontal and a vertical dimension. As a relation between individual self-assertion and self-exposition on the one hand and ideals and values in relation to individually transcending horizons of meaning on the other hand, genuine self-realisation develops through different self-organisational levels, with the relational character of the self being transformed in ways corresponding (...) to the level of its self-organisation. 2012 APA, all rights reserved). (shrink)

Ken Wilber’s AQAL model offers a way to synthesize the partial truths of many theories across various fields of knowledge such as evolutionary biology and sociology, developmental psychology, and perennial and contemporary philosophy to name only a few. Despite its reconciling power and influence, the model has been validly criticized for its static nature and its overemphasis on the ascendant, versus descendant, path of development. This paper points out areas of Wilber’s writing that suggest a way to overcome these criticisms. (...) Doing so allows for the refinement of AQAL’s Twenty Tenets for an extension of its formal, dynamic features. This is accomplished first by relating Wilber’s original dynamic drives to the quadrants and levels enabling the quadrants and levels to then predict additional drives not specified by Wilber. The full set of drives then suggests clarifications of assumptions and applications of the model regarding transcendence and inclusion in order for the refined model to be internally consistent. The result helps correct for AQAL’s ascending bias, a bias which overemphasizes a linear path from lower to higher stages of development. Instead, more possibilities emerge such as those in which ascending development is overly dependent on a higher capacity with inclusion of only basic, lower core capacities. This is in contrast to more fully realizing the potential for development of individuals or societies in the more fundamental, lower levels, through deeper inclusion within higher capacities. Also, given the other horizontal drives that are predicted by the model, further possibilities are explored for differing directions of, and emphasis in, development. (shrink)

En medio del constante replanteo que la filosofía y las ciencias humanas en general han venido haciendo de nociones básicas como la de 'existencia', un horizonte de planteo intercultural permitirá acoger mejor las demandas de las sociedades contemporáneas cruzadas por diferentes centros histórico-culturales y por el fenómeno común de los movimientos sociales exigiendo cada uno reconocimiento de sus propios derechos. Se concibe tal planteo como una 'odisea de la libertad', ya que intenta perseguir el difícil camino de la libertad -en (...) tanto poder ser- hacia la realización de sí mismo, en relación al reconocimiento de sí y de los otros, en el ámbito comunitario y político. Sin olvidar la buena relación con la naturaleza y el cosmos y con lo que trasciende a cada realidad, en tanto abrigo de infinitud en el ámbito artístico y religioso. Se advierte entonces que el camino a la libertad atraviesa todo tipo de dificultades. Amid the constant reconsideration of basic notions such as "existence" by philosophy and human sciences, an intercultural proposal will give a better response to the demands of contemporary societies, which are crossed by different historical-cultural centers and by the common phenomenon of social movements claiming for their own rights. Such proposal is conceived as "an odyssey of freedom", since it pursues the hard path of freedom-as possibility to be-towards his own realization and regarding his own and others' acknowledgement in the community and political sphere, not forgetting the good relationship with nature and the cosmos and with what transcends each reality, as a shelter of infinity in the artistic and religious field. It is then noticed that the path to freedom undergoes all kinds of difficulties. (shrink)

We briefly review and discuss symbolic expressions of the cognitive architecture of the human mind/brain, focusing on the Quaternion, the Axis Mundi and the Tree of Life, and elaborate on a quaternary diagram that expresses a contemporary worldview. While traditional symbols contain vertical and horizontal dimensions related to transcendence and immanence, respectively, in the contemporary interpretation the vertical axis refers to diachronic processes as biological evolution and cultural history, while the horizontal axis refers to synchronic relations as (...) the interactions of individuals in society. In spite of these differences, we claim that old and new symbols are similar, expressing the cognitive architecture of the human mind/brain in the world of experience. (shrink)

The central thrust of Platonic poetics - for Plato had no aesthetics - is not the outright abolition of poetry, nor merely a relocation of it in view of recent acquisitions in the scientific knowledge of the day. Rather it is the quest for an authentic poetry and for ways of differentiating true from false poetry. The experience of transcendence through poetic symbols - of insight into ultimate reality - cannot be explained on the basis of the mimetic theory. (...) The world as a totality, its origin, the gods in the heavens, the shades and shadows of Hades, the tragic Destiny of the dramatist, and their interplay: these are crucial to the Greek experience of reality as voiced by the poet, but for none of them is there any possible model in the visible world, natural or craft-produced.23 Consequently these can never be imitated, and thus too the traditional vocation of the poet as the namer of the holy is precisely what gets eliminated in the last book of the Republic, and in Aristotle's refurbishment of mimēsis.Plato takes poetry seriously both for the polis and in the polis because it poses a serious danger. Poetry threatens “the safety of the city which is within us” (Rep. 608). Yet with Hölderlin he could agree that “Where there is danger there also lies salvation,” and so recognize the veridicousness of poetry, its truth-bearing power. At the basis of every life-form, every political order, there lies a poetic projection. The work of philosophical criticism and dissent can therefore not but enter into the quarrel with poetry. For Aristotle on the other hand, poetry, its meaning transvaluated, has been removed from the precinct of conflict. To put the point dramatically: one could never imagine Aristotle expelling the poets from any state, real or ideal. That would be a category-mistake since the worst that poetry can do is to turn into a catharsis interruptus.Although we have no unmediated experience of Being, the theory of inspiration points in such a direction. Yet even for the poet, it must be stressed, poetic inspiration must not be torn from the process of its self-realizing production or technē. Nor is the Heraclean metaphor fully adequate to critical interpretation, for it emphasizes sensitive conformance to the word at the expense of the distance required for proper engagement. The missing dimension is hinted at in the interrogative approach of Socrates, in his concern for the discovery and preservation of truth. Poetic inspiration, but also poetic interpretation, will not be poetic unless it is, as Heidegger says, a coming-to-work, whether that means a work of art or work of thought. Poetic inspiration must be an eventuation of truth in the work; as distinguished from mystical inspiration, it seeks embodiment and mediation. In other terms, for there to be an artwork both the vertical dimension and the horizontal dimension of craft must intersect. The eventuation of truth in the work must be fitting, due and opportune; the intersection must have its proper measure (summetria, Phil. 643). This alone constitutes the genuine necessity of the work, and only when this character prevails can the eventuation of truth take place. (shrink)

It has limitations to understand “fidelity” of the Analects of Confucius in the thinking pattern of subject-object. The interpretation patterns of self-other and private-public ethics can’t also completely explain the philosophical meaning of “fidelity” in the Analects of Confucius. “Fidelity”, in Confucian theory and practice, has important place, therefore, the paper will try to explore the philosophical meaning of “fidelity” of Confucius from the following suppositions in order to find a new way of philosophical explanation. The suppositions are as the (...) following: First of all, “fidelity” can’t be understood, in Chinese, as a verb which means “faithful to sb”. It is a noun or a gerund. Basing on the distinction of “material world” and “meaning world”, the paper holds that the connotation of “fidelity” has its inner regulation and its meaning is, first of all, regulated not by the material world but by the other contextual logic categories, in this way, it has the characteristic of independence and transcendence. The core meaning of “fidelity” is “center”, the paper calls it as “the centric wisdom” from the epistemological perspective. Wesuppose that Confucius has presupposed that every life has enough wisdom to know what the affirmative value is. For Confucius, his philosophical thinking on “fidelity” has both traditional heritage and personal innovation. We should pay attention to the latter. Basing on the understanding that takes “fidelity ”as “the centric wisdom”, the paper holds that one of the meanings of “fidelity”, as an ethical concept, in the Analects of Confucius, is personal ethics which includes thereorganization of individual values. One part of the individual value is to recognize and practice the value which is independent of social value. Another part of the value is to practice and exhibit the wisdom of “fidelity” in personal speech and behavior including the spiritual activities. The “fidelity” of the Analects of Confucius, as an ethical concept, has another meaning, i.e. the inter-personal relationship which shows the affirmative value under the guidance of wisdom. The inter-personal relationship under the guidance of wisdom can exhibit the affirmative value and can be called as the “ethical” relation. The main requirements are as the following: we have to bring the reflective factor of “wisdom” into inter-personal relation and, under the guidance of wisdom, try to take our social responsibilities required by the social role, or to abide by the public or the professional ethics. We have to maintain positive value direction in the verticalinter-personal relation which means supervision so as to realize the political affirmation. In the horizontal interpersonal relationship, basing on the individual wisdom, we have to keep the keen feeling of morality so as to realize our affirmative values. The understanding of these meanings concerning the word of “fidelity” is naturally resulted from our concern for the inner logic relation in the Analects of Confucius and for the form of idea-expressing of Confucius. (shrink)

En medio del constante replanteo que la filosofía y las ciencias humanas en general han venido haciendo de nociones básicas como la de 'existencia', un horizonte de planteo intercultural permitirá acoger mejor las demandas de las sociedades contemporáneas cruzadas por diferentes centros histórico-culturales y por el fenómeno común de los movimientos sociales exigiendo cada uno reconocimiento de sus propios derechos. Se concibe tal planteo como una 'odisea de la libertad', ya que intenta perseguir el difícil camino de la libertad -en (...) tanto poder ser- hacia la realización de sí mismo, en relación al reconocimiento de sí y de los otros, en el ámbito comunitario y político. Sin olvidar la buena relación con la naturaleza y el cosmos y con lo que trasciende a cada realidad, en tanto abrigo de infinitud en el ámbito artístico y religioso. Se advierte entonces que el camino a la libertad atraviesa todo tipo de dificultades. Amid the constant reconsideration of basic notions such as "existence" by philosophy and human sciences, an intercultural proposal will give a better response to the demands of contemporary societies, which are crossed by different historical-cultural centers and by the common phenomenon of social movements claiming for their own rights. Such proposal is conceived as "an odyssey of freedom", since it pursues the hard path of freedom-as possibility to be-towards his own realization and regarding his own and others' acknowledgement in the community and political sphere, not forgetting the good relationship with nature and the cosmos and with what transcends each reality, as a shelter of infinity in the artistic and religious field. It is then noticed that the path to freedom undergoes all kinds of difficulties. (shrink)

La conscience, par laquelle nous sommes présents au monde, emprunte à notre corps la triple forme des dimensions spatiales que Descartes appelait „longum, latum et profundum” ; la diversité de ces dimensions est due à la manière plus ou moins intégrale dont l'être humain s'engage dans cette présence. I. En effet, l'engagement peut se limiter à la connaissance contemplative, c.-à-d., la connaissance qui ne passe pas aux actes. L'appareil imaginaire qui sert de symbole pour exprimer cette conscience d'autrui et du (...) monde, est emprunté aux gestes peu engagés des mains et des bras, au mouvement horizontal des yeux, le reste du corps étant plus ou moins impassible. Cette manière d'être présent constitue la dimension horizontale de la largeur, dimension qui correspond avec la largeur du corps, des bras étendus, de l'horizon. L'engagement devient plus intégral quand je fais l'effort de redresser mon corps, quand je me lève pour me mettre au travail et pour surmonter les difficultés qu'implique toute réalisation technique : ici, la présence au monde n'est plus seulement connaissance elle devient, dans et par le travail, emploi des moyens et maîtrise du monde. Par cette présence plus engagée et plus complexe, la conscience constitue une seconde dimension, celle de la hauteur qui vient s'ajouter à la largeur. L'effort que je dois faire pour acquérir ou créer une valeur est comparé avec l'effort à réaliser quand je redresse mon corps ; on compare la valeur du travail et l'effort de se lever. La quantité d'argent qui représente la valeur du travail ou d'un objet est un salaire ou un prix qui „monte” ; il permet de „monter” sur l'échelle sociale, de „subordonner” autrui. Cependant, l'être de la contemplation et de l'emploi des moyens est tel que ceux-ci ne trouvent pas leur sens en eux-mêmes ; ils renvoient à la présence qui entraîne la complexité totale de la personne humaine, au sens que l'homme cherche par la totalité de son engagement. L'attention à la vie, l'inclination vers le bien qui nous attire constitue une troisième dimension, celle du lointain. Le geste du corps qui représente cette attention est la marche en avant ; il est entamé par la „conversion”, le geste de l'homme qui détourne la face de ce qu'il déteste, pour la diriger vers ce qui l'attire il se prolonge dans le rapprochement, le mouvement qui fait disparaître les distances. II. La réflexion sur la structure respective des ces dimensions peut nous aider à mieux entrevoir le sens et la structure du langage humain. En effet, celui-ci est un comportement, un ensemble structuré de mouvements corporels : les modifications du visage, les mouvements du bras, la ligne des attitudes corporelles sont les gestes par lesquels l'intériorité, la transcendance ou l'intentionalité de l'homme se fait être-avecautrui. Le langage n'est pas seulement moyen de communication ; il est encore accès à l'intériorité et à la transcendance d'autrui. On devient homme en apprenant à structurer les mouvements corporels qui constituent le langage. III. Ceci ne veut pas dire qu'en analysant le langage on explore la totalité de l'être humain. La vie elle-même, dans laquelle les dimensions corporelles trouvent leur origine et à la laquelle elles doivent leur constitution, ne parvient jamais à exprimer dans le langage la totalité de ce qu'elle est. Mais dans l'analogie croissante des concepts et des gestes, attestée par l'histoire de la langue et de la culture humaine, elle montre une tendance constante à l'intériorisation et à la transcendance. (shrink)

The rapid development of artificial intelligence and digital technologies has inaugurated a transformative epoch, challenging traditional conceptions of subjectivity and cognition. The article examines the concept of technosubjectivity within the framework of complexity thinking and transformational anthropology. Focusing on potential ontological and epistemological shifts stimulated by the recent emergence of new forms of artificial intelligence, particularly generative neural networks and large language models, the authors investigate how these technologies transcend the boundaries between human and machine, generating novel forms of agency (...) and subjectivity. Drawing upon the works of E. Morin, N. Luhmann, G. Simondon, and G. Spencer-Brown, the authors propose a mediative perspective that reveals the post-anthropological interconnectedness and coevolution of human and technological systems. The outlined approach illuminates the dynamic, processual nature of technosubjectivity as an individuating form that emerges through recursive interactions and communicative acts. The article argues that understanding technosubjectivity requires moving beyond simplifying reductionist paradigms and embracing a relational ontology that acknowledges the distributed and emergent properties of cognition and subjectivity in the digital age. The concept of “thinking-together-with” is employed as an alternative to the traditional cybernetic paradigm of control, enabling a reconceptualization of the relationships between humans and artificial intelligence in terms of horizontal collaboration and mutual enrichment. Special attention is paid to the role of distinction and communication in the process of technosubjectivity formation. The article concludes by examining the ethical and philosophical implications of this new form of subjectivity. The authors advocate for more integrated and collaborative relationships between humans and artificial intelligence, rooted in complexity-oriented thinking and mutual co-formation. (shrink)

The paper deals with a series of writings on Plato and Platonism issued by Jan Patočka in the immediate post-war period. In Eternity and Historicity, he contrasts Platonism as metaphysics of being with Socratism as questioning the meaning of human existence, and criticizes modern forms of Platonism of ethical values interpreted as objectively valid norms. In lectures on Plato, he explains Plato’s theory of Forms in terms of Husserl’s theory of horizontal intentionality and Heidegger’s theory of ontological difference. Similarly, (...) in Negative Platonism he interprets Plato’s theory of Forms in terms of a distinction he makes between between the eidetic contents and the transcendental character of the Platonic Idea. The latter is the necessary condition of the former but it does not constitute an intelligible object of its own. Patočka suggests retaining the Platonic notion of transcendence while dissociating it from the metaphysics of intelligible Forms. The paper puts these post-war writings on Plato and Platonism into the context of Patočka’s search for his own position as a phenomenologist. (shrink)

Thomas d’Aquin n’a pas simplement écrit une somme « contre » les gentils ( contra Gentiles), mais aussi et surtout une somme « pour » les gentils ( pro Gentilibus ). La raison naturelle, unique recours pour les mahométans et les païens lorsqu’il n’y a pas d’Écriture en commun (contrairement aux juifs et aux hérétiques), n’est pas que le lieu vertical de l’accès à Dieu ; elle désigne aussi le topos horizontal d’une communauté d’humanité capable de nous rassembler. La (...) « raison » hier (Thomas d’Aquin) joue le rôle de la « finitude » aujourd’hui (Heidegger) – à savoir ce qui fait notre « en commun ». Telle est l’unique perspective d’une apologétique qui ne se tiendra plus dans une sorte de « transcendance de surplomb » (Merleau-Ponty), comme si l’absolu était immédiatement donné. On cessera alors d’opposer « métaphysique » et « théologie », dans un discours prétendument pur et faussement recherché. C’est à transformer la tradition plutôt qu’à la dépasser que nous convie la leçon du concile de Nicée (325). Le « c’est-à-dire » de la même substance du Père ( homoousios ) traduit bien le biblique en hellénique, plutôt qu’il ne tente de sortir de l’hellénique comme tel. Ainsi, le fameux « ce que tous nomment Dieu » ( et omnes dicunt Deum ) à la fin de chacune des cinq voies de Thomas d’Aquin indique moins l’idole d’un Dieu conceptuel à dépasser, que l’icône d’un Dieu rationnel qui, dans sa kénose, habite aussi notre propre nature pour la transformer. De la théo -logie où « seul Dieu parle bien de Dieu » (génitif subjectif), on passera donc à la théo- logie où « l’homme peut aussi, et en partie au moins, parler de Dieu » (génitif objectif). Un nouveau rapport de la métaphysique à la théologie s’instaure ici, capable d’initier une autre relation du croyant au monde. (shrink)

This article examines two modalities of law, depicted spatially as the vertical and the horizontal. The intellectual background for seeing law in vertical and horizontal dimensions is to be found in much socio-legal scholarship. These approaches have challenged the modernist, legal positivist and essentially vertical view of law as a system of imperatives emanating from a hierarchically superior source such as a sovereign. In keeping with the socio-legal critical tradition, but approaching it from the perspective of legal philosophy, (...) my aim is to address three matters. First, why is vertical law problematic for feminists? Second, what are the theoretical characteristics of law in its horizontal register? Third, how is an appreciation of this ‘flat’ law useful for feminist legal theory and practice? In particular, I consider the ways in which feminist legal theory operating in the horizontal dimension can transgress, without transcending, the vertically determined perimeters of the nation state. (shrink)

Deleuze reworks Marxist concepts in order to identify those that represent discontinuity and produce a theory of revolution. Marx is important because, along with Spinoza and Nietzsche, he is a part of a project to leave behind concepts such as transcendence and univocity which underlie the totalitarianism of traditional philosophy. Deleuze is looking for concepts that might form a different theory, within which the structures of production are not organised vertically by the domination of universal concepts, such as ‘being’ (...) or ‘essence’, but flow horizontally through a multiplicity of relations of conceptual singularity. The production of a different series of concepts is a strategic and tactical operation that, in confronting prior notions of transcendental philosophy, turns philosophy itself into a battlefield. Marx provides the general methodology for this tactical approach through two fundamental categories: production and conflict. Deleuze practises Marx's theoretical method and by using Marx's own central concepts challenges traditional Marxism, to arrive at a totally different and revolutionary philosophical structure based on concepts such as those of force, variation, difference, singularity, production and the war machine. (shrink)

Studying the Bernau manuscripts, we find that because protentions are motivated by the sedimentation of retentions and retention is the retaining of fulfilled protentions, the problem of the birth of consciousness arises. I argue that the phenomenon of sleep and awakening is not fundamental enough to understand the problem of the birth of consciousness, since “far” retentions can here serve as motivations. Consciousness at its birth seems to require a pre-consciousness of hyletic unities, such as manuscript C 4 described, to (...) provide these first motivations. I will show that this model of time-consciousness therefore already requires a rethinking of consciousness according to an open (horizontal) affection-and-action model instead of the absolute (vertical) sensation model. As such, the transcendental solidarity between objectivity of knowledge and subjectivity of experience comes to be founded in the primordial transcendence that the pre-consciousness of C 4 implies. Time-constitution at its core is already motivated by the world to constitute it and itself. (shrink)

A comparison of African grammars written in French, and bilingual Franco-African or Franco-Caribbean dictionaries, allows us to discern a common myth concerning “family” ties between French and African Languages.Missionaries consider two means of conversion: by the introduction of the God-Word to his children, which predetermines the foreign society to be encountered; the other demands an ethno- graphic study (to discover the meaning of language) in oral societies (African, Caribbean) to whom an alphabetical language is superimposed (with Latin characters). This effort (...) of transcription presupposes the harmonious compatibility of all oral languages with French. Thus the missionaries breathe the Word and transcendence into the colonies in order to recover in “Word incarnate”, instrument and symbol for the conversion process. (The theologian would speak here of the “verticality of transcendence”.) But the missionary enterprise meets with the resistances of written language and of foreign societies endowed with complex structures and syntaxes. Thus, the so-called “verticality” crumbles along with missionary hopes, resulting in a trite approximate translation which could be characterized as “horizontal”. (shrink)

The earth is the archetypal image of the origin of humanity, but throughout the history of Western culture it has given way to other, more heavenly allegories. Enlightenment as a paradigm of knowledge consolidated itself in Western philosophical thought in a very convincing way as a production of meanings. Through this rereading of the first Greek metaphysics, thought gradually distanced itself from its materiality, from its humanity, from the possibility of admiring the concrete world, getting closer and closer to the (...) need to create abstract objects, which, as ethical limits, political, aesthetic and epistemological, we end up meeting again in our lives. Visibility seems to be the basis of a Western mental habitus: recognition, officiality, legitimacy and certainty become visible signs with which we compare and validate our own experiences. The earth, as a less transparent element, with greater ability to hide, occult, encrypt represents, however, an image that is better suited to the discussion plan proposed in this text. The relationship with reality, in terms of visibility and invisibility, requires a new perception of the world: the underlying structure no longer assumes a transcendent level, but is understood as a plane of immanence, in which meaning is interior, produced by compositions; an amalgam of networks that intertwine in an imperceptible, invisible underground plane. What we propose here is not a vertical perspective, but a horizontal one like the ground. It is from this earthly thought that we want to reflect on what happens in philosophy and childhood; in philosophy with childhood and in the childhood of philosophy. In the present attempt of an ecophilosophy of education, the discussion plan requires a deviation from the guiding images with which we learn to do research. The intention of the following investigation is to look for another type of map: a kind of subterranean cartography, which pays attention not to what we can see, which has well-defined names and categories, but to what is hidden and inhabits a plane that is muddy, earthly, indistinguishable and absolutely alive. According to the Lipmanian model of Philosophy for Children, the subterranean and rhizomatic processes of the research community will be examined, comparing them to other collective movements that characterize the vegetable communities of plants that inhabit the natural world. Finally, three concepts considered relevant to escape the limits found in some contemporary pedagogical postures will be illustrated, suggesting other paths in the relationship between philosophy, childhood and education: reciprocity, passivity and invisibility. (shrink)

The first part of the article examines how Augustine’s notion of the everyday is mediated by his mystical ascensions, which give him the sense of height against which everydayness appears as oriented downward or fallen. These are the coordinates that make up the fundamental verticality of Augustine’s view. Heidegger’s understanding of everydayness was influenced by Augustine, particularly its inherent tendency to fall. In the article’s second part, it is argued that Heidegger explicitly avoids all references to metaphysical or religious heights. (...) For his reason, his notion of falling appears problematic as it both invokes and abandons verticality. Arguably, Heidegger’s turning from verticality to horizontality comes with a cost, as it must renounce the possibility of conceiving the radicality of the fall from a perspective from above. However, as the article’s final part shows, Heidegger and Augustine do not only provide a view of everydayness as falling, but they both share the conviction that there is more to it: Heidegger speaks of the enigmas rooted in everydayness itself, which, however, do not point above, but toward its overlooked sense of Being; Augustine invokes ordinary events as traces of wonder that point from the lowly up to the transcendence of God. (shrink)

If the theme of this special edition can be reformulated as a question (what was and is the current use of the Bible in theology?), it would be challenging and very difficult to answer the question because of a diverse usage of the Bible throughout history and today, stretching in a continuum of both vertical and horizontal probabilities: vertically, theism vs. atheism and horizontally, worldliness vs. holiness. The objective of this essay is to argue for the incorporation of the (...) ‘spiritualities’ of divine immanence and divine transcendence in the composition of theologies, facilitated by a comprehensive and multidimensional reading of the Bible and the acknowledgement of contributions from the sciences. In this research, the reasoning will address the following relevant aspects: (1) taking into account the epistemology of the ‘Bible’ and ‘Theology’; (2) the consideration of postmodernity, post-secularism and spirituality and (3) the composition of neo-theologies. Contribution: This article pleads that biblical analyses should play a more comprehensive and determinative role in the composition and formulation of theology, pointing more explicitly to the transcendence and immanence of God. The reading of such theologies then must create different lived experiences of the immanence and transcendence of God. (shrink)

The God of biblical revelation is present everywhere in the Gospel according to Matthew, but often in a self-effacing way, receding behind Jesus, Emmanuel, God-with-us. God's presence is veiled by divine passives, hidden behind the reverent circumlocution “heavens.” God's supreme designation is Father. This gospel usually speaks on a horizontal plane of everyday life, where the Transcendent awaits us at every turn as the horizon.

D. Wulff developed a notion of post-critical beliefs as a proposal for the description of religion in the light of the progress of secularization and socio-cultural changes. According to his theory, we can situate potential attitudes toward religion in a two-dimensional space. The vertical dimension stands for Inclusion vs. Exclusion of Transcendence, and the horizontal one-for the way an individual interprets religious content: Literal vs. Symbolic. In this way, the two dimensions determine four quadrants, each reflecting a potential (...) attitude towards religion, operationalized by D. Hutsebaut in the Post-Critical Belief Scale as: Orthodoxy, External Critique, Relativism and Second Naiveté. The research presented in this paper is our attempt at fi n ding an answer to the question whether the religious attitudes determined by Wulff are related to self-consciousness types. We tested 159 adult individuals by means of the PCBS scale by D. Hutsebaut and the Self-consciousness scale by Z. Zaborowski and Z. Oleszkiewicz. The results of these tests are that the refl ective type of self-consciousness correlated positively with Orthodoxy and Second Naiveté and negatively with External Critique and Relativism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Men Becoming Gods in "Style"Gioia and Girard on Divinized DesireJoshua Hren (bio)In our secular age we hear seekers of the sacred and religious devotees alike decry the soul-deadening, spirit-dumbing consequences of materialism. René Girard contends that—on the contrary—in the "leveled," horizontal world of a purportedly materialistic modernity this transcendent authority is deviated and distorted but it does not disappear. In his first major work, Deceit, Desire, and the (...) Novel, he argues that "the passion that drives men to seize or gain more possessions is not materialistic; it is the triumph of the mediator, the god with the human face."1 In a materialistic age, the gods are "pulled down from the heaven, the sacred flows over the earth" and men become "gods for each other."2Dana Gioia, former businessman and chairman of the National Endowment for the Arts, is no stranger to the economy of divinized desire. The stakes of our passions—whether we are wrecked by dubious wants or able to shed our infernal imitations—pierce his poetry. Gioia cites Girard as a significant influence alongside St. Augustine and Kierkegaard, though he does not indicate whether his own poetic investigations of mimesis are a direct yield of [End Page 149] his encounter with Girard or the independent discovery of attentive artistic intuition.3The refuge of lies so central to Girard is particularly palpable in Gioia's long narrative poem "Style."4 Charlie, the self-deprecating narrator, divinizes his college friend Tom, a business mogul who "prospered like one chosen by the gods."5 Tom uses his easy money to purchase gaudy metamorphoses, hosting magnificent events with his "flawless" wife Eden. An antihero of the unremarkable variety, Charlie attends all Tom's parties until he stops receiving invitations. When he discovers his deity's disappearance is tied to a terminal illness, he descends into the infernal "slums" of Tom's new hideout, and he finds his former hero hell-bent, ready to commit an arson that will erase his own existence in style. Charlie is confronted with a difficult decision that any coward would waver before. He has the chance to become an atheist—at least with respect to his dying god. After painting a portrait of man-made gods, the poem probes the question of whether and how we can cut short our penchant for great deceits.Charlie opens this narrative poem with an invective directed against himself.Just look at me. Isn't it obvious?I have no style. I'm just a human blur.On me expensive clothes look second-hand.They droop or sag. The color's never right.I wear the wrong apparel to the party.I pick the dullest item on the menu.Each haircut brings some new humiliation.6Crucially, we never receive an audit of this dour self-consciousness. By poem's end, no one has corrected or confirmed Charlie's condemnations. He may be right; his might be the antinomy of Midas's modus operandi. His hyperbolic portrait of Tom's greatness suggests that he is less than just to himself. His preoccupation with something as small as a menu item betrays a brutal obsessiveness. He employs the ascetical word "humiliation" in conjunction with a "haircut"—further revealing his unforgiving inner harshness. Charlie "always loved to visit Tom" precisely because he himself is Pathetic, Inc.7Were René Girard Charlie's older brother, he might sit the sad sap down on a comfortable couch and spell out the difficult truth as follows: The anti-hero "dreams of absorbing and assimilating his mediator's being."8 This highfalutin description of "the Other implies an insuperable revulsion for one's own substance."9 We ought not to take seriously the excuses these types give for their [End Page 150] failings and their fawning, for they "hate themselves on a more essential level than that of 'qualities.'"10 When Charlie disparages his badly cut bangs or his mismatched outfits, he's really incriminating his very being."The desire," Girard argues, "is aimed at the mediator's being."11 Charlie evinces this dynamic when he insists that Tom's "success was existential: / It wasn't what... (shrink)