Resumen: El presente artículo analiza el problema de la afectividad en la concepción de la Fenomenología de la vida del filósofo francés Michel Henry, quien la concibe como fundamento de la subjetividad y esencia de la manifestación. Henry realiza un análisis de la obra del pintor Vasily Kandinsky, y muestra cómo la pintura abstracta, no figurativa, logra expresar en los colores y formas aquello invisible que es la esencia de la pintura y que coincide a su vez con la Vida. (...) La concepción de abstracción elaborada por Kandinsky refiere al contenido invisible e interior, que se expresa a través de colores y formas, pero que es la vida misma en su pathos subjetivo fundamental. De este modo, según Henry, el arte se transformaría en único lenguaje para expresar la radicalidad de la vida afectiva, porque no representa nada exterior o extraño, su contenido es la vida misma.: The present article analyzes the problem of affectivity in French philosopher Michel Henry's conception of Phenomenology of life, conceived of as the foundation of the subjectivity and the essence of the manifestation. Henry analyzes the work of the painter Vasily Kandinsky, showing how abstract and non-figurative painting expresses in colors and forms something invisible, which is the essence of the painting and coincides with the Life. Kandinsky's conception of abstraction refers to the invisible and the inner content, which expresses itself through colors and forms, being the life itself in its fundamental subjective pathos. In this way, the art becomes the only language capable to express the radicality of the affective life, because it does not represent anything exterior or foreign, being its content the life itself. (shrink)

O propósito geral deste artigo consiste em mostrar, a partir de hipóteses globais de interpretação da natureza e da arte, o lugar da pintura na filosofia de F. W. J. v. Schelling. Submetendo a obra pictórica a condições teórico-especulativas inovadoras, a ponderação schellinguiana impele-nos, não raro, a um tratamento diferenciado do visível. Por isso, a título de exercício de reflexão, espera-se igualmente indicar que tal caracterização da pintura ecoa e antecipa, ao longe, questões levantadas pela filosofia contemporânea – em especial, (...) pela fenomenologia – a respeito da imagem. (shrink)

Dos eventos, aparentemente distantes uno del otro y sin vínculos directos entre ellos, pero sin embargo estrictamente relacionados por un legado espiritual común, constituyen el tema de este trabajo. El primero, tuvo lugar en 1971, cuando una «capilla ecuménica» muy especial abrió sus puertas al público. Es conocida bajo el nombre de «Rothko Chapel», debido al proyecto general, realizado por el pintor Mark Rothko. Desde entonces, se ha convertido en una de las obras de arte más valiosas que representan la (...) estética religiosa contemporánea. Las pinturas negras de Rothko, la planta del edificio de «cruz griega» diseñado por el arquitecto Philip Johnson, el obelisco del artista Barnett Newman y la música compuesta para este ambiente por el compositor Morton Feldman, han reemplazado lo que tradicionalmente ha sido llamado «imago templi»; pero, contrariamente a toda tradición cristiana, representan nada (literalmente: no-thing). El segundo evento, tuvo lugar en 1795, cuando dos jóvenes amigos, Hegel y Schelling, estaban haciendo una especie de juramento bajo el signo de una Iglesia Invisible, actualizando un concepto ambiguo que, incluso arraigándose en las Sagradas Escrituras, ya había sido condenado por las iglesias oficiales por sus consecuencias heréticas. La relación entre estos dos eventos está dada por historiadores del arte moderno que han establecido que la pintura abstracta, desde un punto de vista formal, tiene sus raíces en la tradición romántica. Con este trabajo me gustaría contribuir al establecimiento de esta conexión, no solo por medios formales, sino también mostrando una actitud espiritual común hacia las imágenes. El cristianismo, esencialmente figurativo en su estética religiosa, siempre ha tenido que lidiar con la prohibición judía de la creación de imágenes. Esta dificultad ha sido trasferida a los debates contemporáneos en los que artistas con lecturas y educación clásicas, a menudo de origen judío pero activos en sociedades cristianas, intentan crear un nuevo tipo de arte, fuera de toda tradición y sin dogmas. Según mi sugerencia, Rothko Chapel debería considerarse como la realización de un equilibrio frágil en el que tanto el «aniconismo» como la «necesidad de imágenes» han superado su mutua unilateralidad, produciendo una etapa espiritual más elevada. Por lo tanto, tal capilla no sería un simple espacio donde todas las religiones podrían solo reunirse y dialogar, pero debería considerarse algo más sorprendente, es decir, una realización única de lo que lógicamente aparece como una pura contradicción: la realización de un Imago Templi para una Iglesia Invisible.Key words: Rothko; Hegel; Arte Abstracto; Idealismo; Iglesia Invisible. (shrink)

Este artículo se propone indagar en la función del arte en la fenomenología de la donación de Jean-Luc Marion y su relación con la hermenéutica. La pintura desempeña un papel fundamental pues constituye el “modelo” que permite entender el carácter radicalmente pasivo de la administración hermenéutica de la distancia entre lo que se da y lo que se muestra.This article aims to investigate the role of art in Jean-Luc Marion’s phenomenology of givenness and its relationship with hermeneutics. Painting plays a (...) fundamental role because it constitutes the “model” that facilitates understanding the radically passive character of the hermeneutic management of the gap between what gives itself and what shows itself. (shrink)

El presente trabajo pretende ofrecer una aproximación a la pintura impresionista desde la fenomenología francesa contemporánea. De cara a problematizar el papel histórico del impresionismo, partiremos de la crítica de arte de Charles Baudelaire para dilucidar en qué medida dicho movimiento participa de la modernidad artística. Sin embargo, el objetivo principal que nos proponemos no es una lectura histórica, sino fenomenológica: pretendemos superar las interpretaciones reduccionistas que presentan dicho movimiento pictórico o bien como una pulsión naturalista por representar miméticamente los (...) efectos de la luz sobre la retina, o bien como una representación subjetivista que interpreta la impresión como “sensación” psicológica. Más acá de ambos reduccionismos, el impresionismo se nos mostrará en una lectura fenomenológica como el intento de hacer el encuentro con el mundo, y su uso del color se revelará como des-velamiento (aletheia) o mostración de lo real. (shrink)

Este ensaio estabelece uma comparação estética e fenomenológica entre os pensamentos de Yves-Klein e Merleau-Ponty. Se o pintor materializou as suas reflexões e concepções em obra pictórica, o fenomenólogo francês dissertou na escrita filosófica o resultado da sua reflexão. Da análise conjunta entre um e outro resulta esta fenomenologia e estética comparativa que apresenta alguns conceitos fundamentais que alimentaram essas reflexões, tais como a visibilidade, o corpo, o mundo. Assim, para além dessa comparação, este ensaio viabiliza o diálogo entre ambos. (...) Palavras-chave: Corpo. Mundo. Visibilidade. Merleau-Ponty. Yves Klein -/- Abstract:This essay establishes an aesthetic and phenomenological comparison between the thoughts of Yves-Klein and Merleau-Ponty. If the painter materialized his reflections and concepts in pictorial work, the French phenomenologist disserted in the philosophical writing the result of his reflection. From the joint analysis between one and the other, this phenomenology and comparative aesthetics results, which presents some fundamental concepts that fed these reflections such as visibility, the body, the world. Thus, in addition to this comparison, this essay enables the dialogue between both. Keywords: Body. World. Visibility. Merleau-Ponty. Yves Klein. (shrink)

Arte e "pre-mondo" : l'opera di Cézanne e la fenomenologia secondo Merleau-Ponty -- Tempo e parola : motivi proustiani in Phénoménologie de la perception -- Dicibilità del mondo e storicità di vita : espressione, verità, storia nel periodo intermedio del pensiero di Merleau-Ponty -- Alle radici stesse dell'essere : visibilità, natura e pittura nell'ultimo Merleau-Ponty -- Nessuno più di Proust : Le visible et l'invisible nello specchio della Recherche.

En este artículo se desea mostrar la distinción que Jean-Luc Marion realiza entre fenómenos de derecho común y fenómenos saturados, se refleja de manera paradigmática su concepción de arte al presentar el ídolo como una modalidad saturada de los fenómenos; a su vez se presenta la diferencia entre los objetos construidos o los fenómenos constituidos por un sujeto que son presentados como principio y fundamento. Desde aquí se considera la pintura como una experiencia fenoménica de anamorfosis, donde la mirada del (...) espectador se somete al fenómeno, planteando la posibilidad de recibir aquello que se quiere ver. Además, busca mostrar cómo desde el arte, el proceso de la visibilidad es presentado como construcción del fenómeno que opera desde lo invisible. Se mostrará, entonces, cómo la reflexión artística de Jean-Luc Marion permite entrar en el corazón de su obra, observando cómo se puede modificar los conceptos de donación y de sujeto. (shrink)

Este artigo tem por objetivo investigar como Michel Foucault e Roland Barthes analisaram a obra dos pintores Édouard Manet e Cy Twombly guiados pela idéia de que, na modernidade, a obra de arte não pode mais ser interpretada meramente como a expressão da subjetividade de seu autor e, sim, em virtude da relação que ela mantém com a cultura e com a história da arte anterior a ela, bem como o de avaliar o quanto esta abordagem se aproxima do formalismo.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

¿Qué es la experiencia? ¿Cómo se constituye? Una aproximación común a estas preguntas supone que el entendimiento es un epifenómeno que emerge de la percepción sensorial. Luis Miguel Isava retoma estas interrogantes y desarrolla una propuesta muy distinta: la experiencia no se produce a partir del percibir, entendido como acto originario y no mediado, sino que tiene lugar a partir de ciertas condiciones de posibilidad de tipo formal. Para Isava este requisito funciona efectivamente como un protocolo: se trata de un (...) sistema de criterios formales que efectivamente organizan y le otorgan sentido a lo percibido y así lo «sancionan» como experiencia. Los protocolos que hacen posible la experiencia están arraigados tan profundamente en la cultura que pueden resultarnos invisibles y «naturales», pero en realidad son cambiantes. Distintas culturas, en distintos momentos históricos, fundan cada una sus experiencias en base a protocolos diferentes. Esto puede resultar evidente al momento de considerar los procesos de encuentro entre culturas disímiles que han ocurrido a lo largo de la historia. Sin embargo, Isava se enfoca en un problema menos obvio y más sugerente: ¿qué ocurre cuando en el seno de una misma cultura aparecen objetos que, bajo los protocolos vigentes, no pueden ser asimilables como experiencia? Esta posibilidad, nos muestra Isava, podemos hallarla en el arte, o más exactamente, en lo que él denomina los "artefactos culturales" de la modernidad. A partir de ejemplos concretos tomados de la poesía, la pintura, el cine y la música, Isava muestra cómo el arte puede suscitar momentos extraños, reflexivos o críticos que, al enfrentarse con los protocolos de la experiencia ya establecidos, pueden suscitar nuevas formas de estar en el mundo. (shrink)

This chapter contains sections titled: Resemblance Modularity Conclusion.

Far from being haphazard, Merleau-Ponty’s 1945 essay on cinema and 1953 notes on cinema for the lectures at the Collège de France are a precursor of a genuine phenomenology of cinema. Accordingly, in this paper I shall demonstrate that a phenomenology of movement and space tacitly appears in films, since cinema is the art of motion on screen and therefore the art of intersubjectivity par excellence. Moreover, I show that Merleau-Ponty’s ontological conception of the chiasm between the visible and the (...) invisible resembles the interlacing of the “two spaces” mentioned by Noël Burch. Likewise, the interpretation of the world as the “something else” that is simultaneously present and absent in every appearance corresponds, in cinema, to Alain Bergala’s “présence in absentia” of the off-screen on the screen – i.e., to the opening up of off-screen space by means of eyeline match and characters exiting and entering the frame. I finally claim that the use both of long take and depth of field, as analysed by film theorist André Bazin, and of specific camera movements, as analysed by neuroscientist Vittorio Gallese, preserves the continuity of reality and give the impression that the film is a perceptual experience that happens within reality’s space-time continuum.Loin d’être incohérent, l’essai de 1945 de Merleau-Ponty sur le cinéma et ses notes sur le cinéma pour son cours au Collège de France en 1953 sont les précurseurs d’une vraie phénoménologie du cinéma. Dans ce texte, je démontre qu’une phénoménologie du mouvement et de l’espace apparaît tacitement dans les films puisque le cinéma est l’art du mouvement à l’écran et par conséquent l’art de l’intersubjectivité par excellence. Par ailleurs, je montre que la conception ontologique de Merleau-Ponty du chiasme entre le visible et l’invisible ressemble à l’entrelacement des « deux espaces » mentionnés par Noël Burch. De même, l’interprétation du monde comme le « quelque chose d’autre » simultanément présent et absent dans toute apparition correspond, au cinéma à la « présence in absentia » du hors champ dans le champ d’Alain Bergala – à savoir l’ouverture de l’espace du hors champ par la technique du eyeline match et des personnages qui entrent et sortent du cadre. Je soutiens enfin que l’usage à la fois du plan long et de la profondeur de champ, analysés par le théoricien du cinéma André Bazin, ainsi que de mouvements spécifiques de caméra, analysés par le neuroscientifique Vittorio Gallese, préserve la continuité de la réalité et donne l’impression que le film est une expérience perceptive qui se produit à l’intérieur du continuum de l’espace temps de la réalité.Lungi dall’essere interventi estemporanei, i saggi di Merleau-Ponty sul cinema del 1945 e le sue note sul cinema per il corso al Collège de France del 1953 sono precursori di un’autentica fenomenologia del cinema. In questo articolo intendo mostrare come nei film si delinei tacitamente una fenomenologia del movimento e dello spazio, poiché il cinema è l’arte del movimento sullo schermo e per eccellenza l’arte dell’intersoggettività. Inoltre, intendo mettere in luce come la concezione ontologica merleau-pontyana del chiasma di visibile e invisibile si accosti all’intreccio dei “due spazi” menzionati da Noël Burch. In modo analogo, considererò l’interpretazione del mondo come il “qualcos’altro” che è al contempo presente e assente in ogni apparizione come corrispondente, nel cinema, a quella che Alain Bergala definisce la presenza “in absentia” del fuori campo sullo schermo, ossia all’apertura dello spazio fuori campo per mezzo del raccordo sullo sguardo e dell’ingresso e dell’uscita dei personaggi rispetto all’inquadratura. Infine, sosterrò che tanto l’impiego del long take e della profondità di campo, descritti dal teorico del cinema André Bazin, quanto l’uso di specifici movimenti di macchina, analizzati dal neuroscienziato Vittorio Gallese, preservino la continuità del reale e forniscano l’impressione che il film sia un’esperienza percettiva che si svolge entro il continuum spazio-temporale della realtà. (shrink)

Forward Dr Terri Field, Honorary Research Advisor, School of History, Philosophy, Religion and Classics, The University of Queensland. 'a very personal and exploratory piece of work.' Dr. Terri Field.

RESUMO Este artigo apresenta informações de um estudo iconográfico – pautado no campo da abordagem qualitativa, orientado pela questão “quais as representações do cuidar/cuidado humano presentes em uma pintura da Renascença?” – cujo objetivo foi identificar a(s) representação(ões) do cuidar/cuidado humano expressa(s) por uma pintura renascentista. A arte desenvolvida no Renascimento teve um caráter científico devido aos conhecimentos da Matemática, Física, e outras áreas, inseridos nela. Os resultados do estudo da imagem produzida por material artístico – iconografia – permitiram, através (...) da análise iconográfica, desvelar o cuidar/cuidado humano sob a forma de compaixão como sendo o verdadeiro significado da pintura O Bom Samaritano (1550-1570) de Jacopo Bassano. Outras variantes de cuidar/cuidado foram identificadas, confluindo para a representação do cuidar/cuidado manifestação da vida. Palavras-chave: Arte, saúde, cuidar/cuidado humano, Renascimento, iconografia. (shrink)

The development of art marketing as a new field of management occurs in a context of great confusion as to what constitutes the very definition of art, one aspect of this confusion being nothing else but the confusion between art and marketing itself. This confusion leads to conflicts between those who consider that art should be defined by a clear aesthetic criterion and those who accept the absence of such a criterion as a legitimate consequence of the principle of freedom (...) which applies both to the creation of the artist and to the taste of the public. This state of confusion does not seem to be experienced in the same way in France where it has tended to be considered as a symptom of crisis in the world of art and in the United States where it has raised as a dominant force in contemporary art. Hence the confusion of art and marketing varies as a function of time (as shown by the emergence of a new field of management) and of space (as shown by the comparison of the French and American cases). It will be proposed that it is possible to account for these historical fluctuation thanks to an institutional approach based on the notion of system of legitimacy. We shall propose the essentially dynamic institutional foundations of modernity leading to the proliferation of innovations which consequences are ever more difficult to anticipate as a reason why, in America, philosophers coming from the analytic tradition found it meaningful to address questions such as “What is art” (Arthur Danto) or “When is there art” (Nelson Goodman”) expressing the need to go beyond pragmatism as expressed by John Dewey’s Art as Experience to promote a positive attitude towards contemporary art, while, in France confusion between art and marketing has been commonly considered negatively as the sign of the triumph of the most radical form of rhetoric, i.e. sophism. (shrink)

_The Invisible Dragon_ made a lot of noise for a little book When it was originally published in 1993 it was championed by artists for its forceful call for a reconsideration of beauty—and savaged by more theoretically oriented critics who dismissed the very concept of beauty as naive, igniting a debate that has shown no sign of flagging. With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than (...) criticism, _The Invisible Dragon_ aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty. Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of _The Invisible Dragon_ will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism. (shrink)

Este artículo pretende dilucidar el significado del sentir profundizando en la fenomenología genética y dialogando con la ontología fenomenológica, particularmente con la Métaphysique du sentiment de R. Barbaras. Comienza descubriendo los sentidos del cuerpo y lo que denominamos “re-flexión” corporal, siempre vinculada a la aisthesis (lato y stricto sensu) y a la afectividad. Aborda posteriormente la correlación entre fenomenología y estética como ejemplo de la pasividad en la actividad del sentir. Comprenderemos esta dinámica como movimiento ontológico que aúna la aisthesis (...) con el logos y exige ser expresado. Cézanne estará presente en esta investigación, como lo estuvo en la obra de Merleau-Ponty y de Maldiney, porque su pintura encarna ese movimiento en el que la creación es necesaria para experimentar y expresar el ser, y porque filosofía y arte son indispensables para sentir y pensar. Aceptaremos la crítica que Barbaras dirige Maldiney, mientras que continuaremos desarrollando la ontología fenomenológica de Merleau-Ponty para arrojar luz sobre le sentir. (shrink)

:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism (...) which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)

Complex social and ethical problems are often most effectively solved by engaging them at the messy and uncomfortable intersections of disciplines and practices, a notion that grounds the InVisible Difference project, which seeks to extend thinking and alter practice around the making, status, ownership, and value of work by contemporary dance choreographers by examining choreographic work through the lenses of law, bioethics, dance scholarship, and the practice of dance by differently-abled dancers. This article offers a critical thesis on how bioethics (...) has come to occupy a marginal and marginalizing role in questions about the differently-abled body. In doing so, it has rendered the disabled community largely invisible to and in bioethics. It then defends the claim that bioethics – as a social undertaking pursued collaboratively by individuals from different disciplines – must take much better notice of the body and the embodied individual if it is to better achieve its ends, which include constructing a moral and just society. Finally, this article considers how the arts, and specifically dance, provides us with rich evidence about the body and our ability to respond positively to normally ‘othered’ bodies. It concludes that greater attention to empirical evidence like that being generated in InVisible Difference will help to expand the reach and significance of bioethics, and thereby its relevance to important questions about the status of bodies and bodily differences, which must be considered as central to its ambitions. (shrink)

This paper tries to clarify the coincidence between some of the main features of the characterization of perception in the phenomenology of Merleau-Ponty (Phenomenology of Perception) and the picture technique of Cézanne. Although placed in different work areas, indeed, the reflection about the perceptive act and the process of pictorical creation, there is an inspirational shared basis: Merleau-Ponty’s notion of “original experience” goes parallel to Cézanne’s understanding of the painting as a the original appearing of the things so as they (...) should appear to a glaze that goes beyond the objectivating categories of every daily, normal perception. (shrink)

Na obra O mundo como vontade e representação, Arthur Schopenhauer apresenta as manifestações artísticas como forma de objetivação da vontade, que para ele, está associada ao Bem platônico e a Coisa-Em-Si propugnada por Kant. Este trabalho tem o objetivo de apresentar a estética construída pelo Cavaleiro Solitário, onde a contemplação da arte, destacando a pintura e, especialmente a música, apresenta-se como bálsamo para o ser humano superar o pessimismo causado pelo mundo passageiro dos fenômenos e assim alcançar, ainda que provisoriamente, (...) a tão sonhada ataraxia.: In the book The World as Will and Representation, Arthur Schopenhauer shows the artistic manifestation as objectivation of the will, which is associated to Platos’s idea of the Good and the Thing In Itself proposed by Kant. The aim of this article is to present the aesthetic built by the Solitary Knight, where the contemplation of arts, especially painting and music as well, reveals as a balm to human been overcome the pessimism caused by the transitory world of phenomenon achieving, provisionally though, the dream of the ataraxia. Keywords : Aesthetic, Music, Painting, Will, Representation. (shrink)

Dans ce texte, je me propose d’appliquer aux œuvres d'arts visuels, et en particulier à Baptism I de Michael Rampa, une théorie sur la nature de l’art, la théorie des qualités quaternaires. Selon celle-ci, l'art existe en vertu de qualités quaternaires, qui consistent en les créations ostensives de propriétés évaluatives perçues.

En los primeros trabajos de Ortega sobre estética, y más particularmente en los que se ocupa de Zuloaga, se reconoce el influjo del neokantismo, pero también la inci-piente presencia de la fenomenología. El propósito de este trabajo se poner en claro ambos elementos, al tiempo que se esbozan las claves de la estética orteguiana de la pintura en esta época como “pintura del mundo”, que logra salvar las cosas sirviéndose de dos recursos: 1º de un tema circunstancial, y 2º de (...) una técnica impresionista que pinta el “ambiente. (shrink)

Violence has always accompanied human societies, and appeared in various forms of artworks such as movie, painting, and even cave art, but Persian painting by showing the utopian calm images surprisingly kept itself away from representing the violence, even in the scenes of war and slaughter. This paper aims to study the Persian painting –with focus on the early Safavid dynasty as the age of glory of Iranian art- on the basis of Žižek’s theory, to show that invisible violence floated (...) in Persian painting regardless of its extreme calm beauty and its different context from contemporary philosophy. Žižek categorizes the violence into three modes: visible subjective, and two modes of objective violence -Symbolic and Systematic - which are invisible and flow in latter layers. By going to deeper level of creation and content of Persian images which were illustrated in the court and on the command of rulers of the time, it is concluded that some elements of invisible violence such as strict law, visual symbols like “Qizilbash Hat”, the issue of the language, neighbor, fear of error, repetition of historical characters, extremism and nonviolent situation can be analyzed in the content or illustration of Persian Painting. (shrink)

Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

The books of Pascal Quignard present themselves as a hunt for the invisible. The ambition that lies at their heart seems particularly compatible with a phenomenological approach. Indeed, this literary intuition – this “suspicion” in the words of Quignard – hinges on the nature and value of representation. This article tries to read the entire work of Quignard through the phenomenological lens. The elucidation of phenomenality is accomplished here through the steps of a process that leads to the very condition (...) of vision. Once the essence of representation is established as a “predation”, the literary writing of the author reveals it as related to an absent, invisible prey. Through the successive and ascending figures of idolatry, love, art and contemplation, can then start a route to invisibility, which is a true pedagogy of seeing. This quest, conceivable as a learning process through which literature finds its ultimate aim, finally leads to a renewed understanding of the concept of representation. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

Não há dúvida de que uma intenção moral presidiu ou, no mínimo, acompanhou grande parte da arte do passado. Esquecemos suficientemente de falar da arte, em geral, como um domínio em que as considerações éticas não têm lugar e em relação a qual seria inconveniente falar em moral, isso porque belo e bom são valores não apenas distintos, mas independentes, e dentre esses importa conservar-lhes essa independência. Uma visão sensata do estado histórico da questão supõe, no entanto, que tomemos consciência (...) da historicidade dessa posição separatista, ou seja, que, por um lado, esqueçamos por um instante a autonomia e a autotelia da arte ensinada no século XIX e, por outro lado, que nos lembremos da maneira com que os artistas e os pensadores da arte, anterior à invenção moderna das belas-artes, concebiam a prática artística. Nessa longa história pré-moderna da arte, gostaria de examinar mais precisamente aqui as intenções éticas da teoria humanista da pintura e de submeter a um exame crítico a eficácia dessas intenções.Palavras-chave: Efeitos Éticos da Pintura. Teoria Humanista da Pintura. Efeitos Estéticos e Cognitivos da Arte. Résumé:Qu’une intention morale ait présidé ou au moins accompagné une grande partie de l’artdupassé, c’estcequi ne fait aucundoute. Nous l’avons suffisamment oublié pourparler de l’art, engénéral, comme d’un domaine où les considérations éthiques n’ontpasleurplace et à propos duquel il serait déplacé de parler de morale, aumotif que beau et biensont desvaleurs non seulement distinctes mais indépendantes et dontqu’il importe de leur conservercette indépendance. Une visionsaine de l’état historique de la question suppose pourtant que nous prenions conscience de l’historicité de cette position séparatiste, autrementdit, que d’une part nous ou blions pour un temps l’autonomie et l’autolélie de l’artenseignée par le XIX èmesiècle et d’autrepart, que nous nous rappelions la manière dont artistes et penseurs de l’art d’avant l’invention modernedes beaux-art sont conçula pratique artistique. Dans cette longue histoire prémoderne de l’art, on considérera plus précisément ici les intentions éthiques de la théorie humaniste de lapeinture et l’onsoumettra à unexamen critique lesmoyens de cesintentions.Mots-Clés: ÉffetsÉthiques de laPeinture. ThéorieHumaniste de laPeinture. ÉffetsEsthétiques et Cognitifs de l’art. (shrink)

Against certain positivistic and neopositivistic strictures still rooted in our society, Agazzi argues that knowing the invisible is possible, not just in science, but also in metaphysics, in morals, in aesthetics, and in other areas, including, in a sense, religion. The book also examines many examples of such knowledge, surveying not only the great classics of philosophy, but various immortal masterpieces of art, music and literature. It is not just a treatise in epistemology, but a book of philosophy in the (...) most complete and traditional sense, for it discusses knowledge not only for its own sake, but also as a guide to culture, morality, happiness and to the sense of life. Thus, it also provides some important suggestions on how to face our time of crisis and an uncertain future. Despite Agazzi’s proverbial rigor and clarity, his project is so momentous and demanding that I discuss certain points which might deserve further explication and argumentation. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

An expanded edition of Hickey's controversial and exquisitely written apologia for beauty--championed by artists, reviled by art critics, and as powerful as ever 30 years on 1993: the AIDS pandemic rages through yet another decade, leaving society and the arts devastated and bereft. Dave Hickey sits down to produce a slim volume, The Invisible Dragon. The book ignites a firestorm, and from its ashes "beauty" again rises as a dominant force in artistic life. Academics argue about theoretical minutiae. Artists pass (...) the book around like a samizdat. This 30th-anniversary edition brings back into print Dragon's four essays on beauty and commingles them with five previously uncollected essays. Hickey's 1974 profile of Dolly Parton anticipates Dolly's longevity as a cultural and feminist icon; his appreciation of Richard Pryor weaves an elegiac tapestry; his review of John Rechy's seminal gay novel Numbers outs its literary innovation in the face of a homophobia that otherwise ghettoized it; and his singular essay on Ed Ruscha, a paragon of arts writing by an extraordinary prose stylist, enjoins us to listen to art, not just look at it. An afterword by Hickey's friend and Dragon's editor "queers" the brash, heterosexual gambler as it situates the creation of Dragon squarely within the AIDS pandemic. The book was in part an attempt to make beauty visible under the looming presence of death and bodily decay. Only now can we fully appreciate how artists continue to harness beauty as a source of meaning and joy. Dave Hickey (1938-2021) was one of the preeminent arts and cultural writers of the turn of the 21st century. A MacArthur "Genius" Fellow known as the "beauty guy" in the popular press, Hickey opened A Clean, Well-Lighted Place gallery in Austin, Texas, in the 1960s, before becoming executive editor at Art in America magazine. In the 1970s, he was a songwriter in Nashville, Tennessee, where he coined and helped create the "Outlaw country" music movement. By the 1990s, Hickey had made a home in Las Vegas, from where he regularly traveled to speak with audiences worldwide. (shrink)

A VISUAL GUIDE TO THE WORKS OF THE ULRICH DE BALBIAN FINE ART FOUNDATION au natural I am/was hardly known in my life time, apart from a few thousand on Linkedin, my 2 blogs, Facebook, Instagram - because I live as a hermit, removed from all social life, so that I can just paint, paint and paint - and reflect and write (philosophy and sociology of life, existence, culture, art). I create, as I live, as if there is no human (...) being who interferes, intervenes, creates (paints) - as if every- thing just happens, ‘just is’ - like water flows, the ocean, a tree grows (or dies) in the forest, like light creates colours, gravity and other natural forces. Like Zen Buddhists, Christian and other mystics, Jains, Sufis - we just leave everything as we find it. This is what all arts have ever attempted to do. But, especially and more specifically so-called modern, contemporary and (post-) post-modern art, Critical Theory, (post) deconstruction attempt to, and all philosophy tried to depict by means of reflection on first order existence - as if, it merely mirrors and reflects what it comes across. Nowadays many artist are aware of this, previously few reflected on this. All creatives are/were aware of this attitude, the state of mind, this style of conscious awareness, this way of 'just being', all mystics knew that - realizing the Buddha mind, being oned with Eckhart's Godhead, the one real self of Vedan- ta, the Father of Jesus, etc, etc. The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair , but larger works are experienced (like installations) as if one is part of them and participate in them. Now that you know this please do not treat these images as if they are just more objects or things you look AT, but experience and participate in them. (shrink)

This essay argues that what separates poor mothers from their middle class counterparts are many factors — not simply couples' ability to plan, the power of their choices, and agency. For example, power, social clout, and access to health care influence status and parenting. Historically, for white women choice has been about abortion; for many women of color, choice is about being able to be a mother. This essay begs the question whether real parallels can be drawn on questions of (...) contraception, abortion, and ART simply by examining class and to what extent race and sexual orientation matter in research on parenting. (shrink)

Entre las diferentes apariciones del arte en la obra cervantina, se cuentan dos poemas con elementos pictóricos de interés: el temprano soneto “A san Francisco” presenta una écfrasis en la que el alarde de conocimientos artísticos muestra un uso social y cortesano de la poesía, mientras el romance a Altisidora aprovecha una serie de tecnicismos pictóricos de manera burlesca.

In this volume, Charles Taliaferro and Jil Evans promote aesthetic personalism by examining three domains of aesthetics - the philosophy of beauty, aesthetic experience, and philosophy of art - through the lens of Judaism, Christianity, Islam, theistic Hinduism, and the all-seeing Compassionate Buddha. These religious traditions assume an inclusive, overarching God's eye, or ideal point of view, that can create an emancipatory appreciation of beauty and goodness. This appreciation also recognizes the reality and value of the aesthetic experience of persons (...) and deepens the experience of art works. The authors also explore and contrast the invisibility of persons and God. The belief that God or the sacred is invisible does not mean God or the sacred cannot be experienced through visual and other sensory or unique modes. Conversely, the assumption that human persons are thoroughly visible, or observable in all respects, ignores how racism and other forms of bias render persons invisible to others. (shrink)

Aesthetics is a central topic in the works of Jean-Luc Marion and Michel Henry. While Henry focuses on abstract art (especially Kandinsky), Marion’s writings range over the history of art, including analyses of Courbet, Rothko, and Klee. This article examines their strikingly similar aesthetic theories and shows how they are grounded in a phenomenological claim about the relation between invisible and visible, hence about phenomenality itself. The artist becomes a paradigm for phenomenological receptivity in both thinkers, and art is assigned (...) a quasi-salvific function. This raises several important questions about their theories of art. (shrink)

Este trabajo, desarrollado en el contexto del giro teológico de la fenomenología francesa, reflexiona sobre la significación de la Vida en Michel Henry, Vida y pasividad que no resultan de la volición de un sujeto moderno que parecería haber sido hoy superado. Estamos en los umbrales de una filosofía primera que no deja absolutamente de lado la intencionalidad de otrora, así como su carácter activo en la donación de significado, pero subordina ambos a un fundamento primero, único e irreductible: la (...) Vida. Hemos titulado este trabajo Gloria de la pasividad puesto que, en efecto, el ego no aparece como el artífice originario de la constitución del mundo, de sus significados y de sus idealidades. Una pasividad primitiva del sujeto antecedería al ego constituyente de la fenomenología clásica, una pasividad viejísima, que no cabría, sin lugar a duda, en ninguna memoria. No hemos querido, sin embargo, introducirnos al pensamiento de Henry sin antes darnos una idea de lo que significa la pasividad del sujeto reflejada en algunas líneas de Marion, cuya comprensión se da en el marco de una fenomenología de lo invisible y de una fenomenología abierta al exceso de evidencia. (shrink)

Dragon days: introduction to the new edition -- Enter the dragon: on the vernacular of beauty 1 -- Nothing like the son: on Robert Mapplethorpe's X portfolio -- Prom night in flatland: on the gender of works of art -- After the great tsunami: on beauty and the therapeutic institution -- American beauty.

Acompanhando a cronologia política do Brasil no século XIX, quando passa de Colônia e Reino Unido, a Império e República, construiu-se um rápido panorama da pintura de história brasileira. Não apenas destacou-se a relação estabelecida com o poder, que pertence à gênese desse gênero de pintura, mas, principalmente, apontou-se a atuação de artistas que muitas vezes impuseram visões próprias do passado, ante um meio intelectual ainda incipiente. Buscou-se verificar o processo de construção da memória e do esquecimento, peculiar à pintura (...) de história. O medo à fragmentação, ocorrido na América Latina, com o esfacelamento do domínio espanhol, levou o Brasil a produzir uma iconografia que salientasse a continuidade entre passado e presente, como também a unidade, construída na defesa de seu território face ao inimigo externo; silenciando-se sobre a escravidão e as revoltas internas, que somente serão representadas na República, quando da construção de iconografias locais, necessárias ao espírito federativo. (shrink)

The recent spectacular progress in assisted reproductive technologies (ARTs) has resulted in new ethical dilemmas. Though women occupy a central role in the reproductive process, within the ART paradigm, the importance accorded to the embryo commonly surpasses that given to the mother. This commentary questions the increasing tendency to position the embryonic subject in an antagonistic relation with the mother. I examine how the mother’s reproductive autonomy is compromised in relation to that of her embryo and argue in favour of (...) doing away with the subject-object dyad between them, particularly in the contexts of surrogacy and abortion. I also engage with the Surrogacy (Regulation) Bill, 2016. A critical discussion of the privacy judgment passed by the Supreme Court of India helps examine how personal autonomy of the body and mind extends to include the reproductive autonomy of women as well. (shrink)

I write here about how the visible and the invisible intertwine in painting: in theory and in praxis – primarily the praxis of my own painting. Philosophers are rarely asked to discuss, much less to show in public, what they do avocationally rather than professionally. I was drawn to the invitation of the Merleau-Ponty Circle to exhibit my painting and to talk about what I do when I am not writing or teaching philosophy. It has offered a rare chance to (...) catch up with myself – with the painter in me. I started in art long before I turned to philosophy. It was my first love and is still my intermittent passion. I have not hidden it from others altogether – I have shown my work in various group shows– but it would be more accurate to say that I have hidden it from myself. Talking about my art work in the context of this Circle comes at a very welcome moment in which I am in the process of determining where I shall go with the rest of my life as it shortens down: ars longa, vita brevis.J’écris ici à propos de la manière dont le visible et l’invisible s’entrelacent dans la peinture : en théorie et en pratique, prioritairement dans ma propre pratique de la peinture. On demande rarement aux philosophes de discuter, et encore moins de montrer en public, ce qu’ils font en amateurs plutôt que professionnellement. J’ai été entraîné par l’invitation du Merleau-Ponty Circle à exposer ma peinture et à parler de ce que je fais lorsque je n’écrit pas et n’enseigne pas la philosophie. Cela m’a offert une chance rare de me retrouver moi-même, le peintre en moi. J’ai commencé dans l’art bien avant de me tourner vers la philosophie. C’était mon premier amour c’est encore ma passion intermittente. Je ne l’ai pas caché, puisque j’ai montré mon travail dans plusieurs expositions collectives. Ce serait plus juste de dire que je l’ai caché de moi-même. Parler de mes oeuvres d’art dans le contexte du Merleau-Ponty Circle arrive à un moment tout à fait bienvenu, où je suis en train de réfléchir à la suite de ma vie, puisqu’elle raccourcit : ars longa, vita brevis.In questo articolo tratto di come il visibile e l’invisibile si intreccino in pittura, nella teoria come nella pratica, e in particolare nella mia pratica di pittura. Raramente ai filosofi viene chiesto di discutere, e ancor più raramente di mostrare pubblicamente, ciò che essi fanno in ambito amatoriale e non professionale. Sono rimasto molto colpito dall’invito del Merleau-Ponty Circle a esporre i miei dipinti e a parlare dell’attività che svolgo quando non scrivo o non insegno filosofia. Questo invito mi ha fornito un’opportunità rara per riprendere contatto con me stesso – con il pittore che è in me. Mi sono avvicinato all’arte molto prima di rivolgermi alla filosofia. L’arte è stato il mio primo amore ed è ancora la mia passione intermittente. Non l’ho mai tenuta nascosta agli altri – ho presentato il mio lavoro in numerose mostre collettive; forse sarebbe più corretto dire che l’ho nascosta a me stesso.La possibilità di parlare della mia arte in occasione del Merleau-Ponty Circle si è presentata in un momento molto propizio, in cui mi trovo a domandarmi quale strada percorrere in quello che resta della mia vita che a mano a mano si accorcia: ars longa, vita brevis. (shrink)

Este artículo muestra cómo la estética de Ortega y Gasset es una estética fenomenológica porque se fundamenta sobre la fenomenología de Husserl. La comprensión orteguiana del arte como epoché y reducción eidética es una prueba de ello. La deshumanización o desrealización del arte, concepto central de la estética de Ortega, consiste en realizar la epoché y la reducción eidética hacia la pura conciencia o conciencia de. Según Ortega, el arte siempre ha sido epoché y reducción espontáneas. El arte de vanguardia (...) las practica de forma consciente. (shrink)

Um novo livro da colecção "Obras de Eduardo Lourenço" que a Gradiva tem vindo a editar e que desta vez entra pelo mundo da arte, com a pintura em destaque. O percurso de Eduardo Lourenço na descoberta da arte é uma viagem abrangente, em que apresenta uma multiplicidade de pontos de vista e de abordagens, numa obra organizada em três secções: Estética, Exposições, Pintores. Tendo a pintura como pano de fundo, o filósofo revela uma enorme sensibilidade, uma elevadíssima capacidade de (...) observação e de reflexão, um imenso talento para estabelecer analogias. No texto inicial ("Eduardo Lourenço, um olhar sem fim"), Barbara Aniello refere: "Todavia não é apenas de crónica diarística, de pinceladas traçadas na mais silenciosa intimidade, que as páginas que se seguem são amostra reveladora. [...] Repletas de sabedoria e de experiência, estas considerações nascem de uma abordagem à arte filtrada pela cultura do pensador que, ao contrário do espelho da música, mergulha aqui num mundo ‘outro’ com todas as ferramentas da sua erudição." Esta obra contém material maioritariamente inédito. (shrink)

Video games aren't merely casual entertainment: they are the heart of one of the fastest-growing media industries in the world, and a cultural phenomenon in their own right. Gaming has evolved from a niche pastime into a global business that rivals film and television, creating, in the process, new art forms and social arenas and have become the subject of endless public debate. This book shows that games also provide a unique space in which to study economic behavior. Games, more (...) than any other form of media, demonstrate the power and creative potential of human choice - an idea that's also the foundation of economic thinking. Whether it's developing trade relations, or the use of money, or even complex legal institutions, virtual worlds provide a captivating and entertaining arena for studying economic behavior in its most dynamic forms. The overarching theme of the volume is the economic order that governs virtual worlds, and the many ways individuals work together, often without knowing it, to govern their social relations in digital space. (shrink)