Das Verhaltnis von Spekulation und Vorstellung in Hegels enzyklopadischem System ist von einer eigentumlichen Spannung gekennzeichnet. Spekulation ist nicht nur die kritische Reinigung der Inhalte der Vorstellung von ihren Vorurteilen und Irrtumern, sondern zugleich Anerkennung des endlichen, vorstellenden Denkens innerhalb seiner Grenzen, sowohl auf dem Gebiet der Erkenntnistheorie als auch der Religion. Wie verhalten sich aber Spekulation und Vorstellung zueinander in verschiedenen Teilen des enzyklopadischen Systems, in der Logik und der Philosophie des Geistes? Diesem Zusammenhang gehen die Beitrage des Tagungsbandes (...) im Detail nach und uberprufen kritisch das enzyklopadische Zusammenspiel von Spekulation und Vorstellung in den Spharen des subjektiven und des absoluten Geistes. Mit Beitragen von: Kazimir Drilo, Markus Gabriel, Christoph Halbig, Gunnar Hindrichs, Axel Hutter, Franz Knappik, Anton Friedrich Koch, Christian Georg Martin, Jan Rohls, Rainer Schafer. (shrink)

In dem Kapitel über die Kunstreligion unterscheidet Hegel vier Weisen der Integration des Absoluten: 1. Integration durch die Götterskulptur, 2. Integration durch die Sprache, 3. Integration durch den religiösen Kultus, durch Mysterien und Feste, 4. Integration durch die höhere Sprache der Tragödie. Die Integration wird durch den Künstler hervorgebracht – der Geist ist Künstler. Es zeigt sich jedoch, daß diese Integrationsversuche scheitern. Erst der spekulativ Philosophierende wird das verwirklichen, woran der Künstler gescheitert ist: die Einheit mit dem Absoluten. Die von (...) Hegel in der Phänomenologie des Geistes dargestellte und in den verschiedenen Formen der Kunstreligion durchgeführte Integration und Aneignung des Absoluten führt zu einem Punkt, an dem das Absolute zum Verschwinden gebracht wird: Zunächst wird es zu des Menschen „Putze, Wohnung und im Schmause seines Opfers” verwendet, dann wird das innere Wesen des Absoluten „in dem Mysterium des Brotes und Weines” verzehrt und schließlich im Gelächter der Komödie aufgelöst. Der Künstler, der Integrator des Absoluten in das Leben des Volkes, ist letztendlich so erfolgreich, daß er das Verhältnis umkehrt: Es ist schließlich das wirkliche Selbst, das sich als Herr über das Absolute erhebt. Die Integration des Absoluten scheitert an der Hypokrisie des Kunstwerks. Der Weg, den der Künstler beschreitet, bereitet jedoch den Boden für das Aufkommen der offenbaren Religion und somit mittelbar auch für das Auftreten der spekulativen Philosophie. (shrink)

Dans le chapitre sur l’art de la religion, Hegel différencie quatre façons d’intégrer l’absolu: 1. l’intégration par les statues des dieux, 2. l’intégration par la langue, 3. l’intégration par le culte de la religion, les mystères et les festivités, 4. l’intégration par le langage supérieur de la tragédie. L’intégration est menée par l’artiste –l’esprit, c’est l’artiste. Pourtant, il s’avère que ces tentatives d’intégration échouent. Ce n’est que la personne qui philosophera de manière spéculative qui réalisera ce qui ne réussit pas (...) à l’artiste: l’unification avec l’absolu. L’intégration, que Hegel a présenté dans Phénoménologie de l’Esprit et qui s’est réalisée sous diverses formes de l’art de la religion, et l’appropriation de l’absolu mènent à la disparition de l’absolu: cela est d’abord utile à l’homme comme « une femme de ménage, un appartement et le banquet de sa victime ». Ensuite, l’être intérieur de l’absolu consomme « dans le mystère du pain et du vin », pour finalement s’annuler dans le rire de la comédie. L’artiste, l’intégrateur de l’absolu dans la vie du peuple, réussit finalement si bien qu’il inverse le rapport: c’est, enfin, un soi vrai qui s’élève, tel un maître, au-dessus de l’absolu. L’intégration de l’absolu échoue lors de l’hypocrisie de l’oeuvre d’art. Le chemin emprunté par l’artiste prépare le terrain pour la découverte d’une religion visible, et, indirectement, pour un retrait de la philosophie spéculative. (shrink)

In the chapter about the religion of art Hegel differentiates between four ways of integrating the Absolute: 1. integration though statues of gods, 2. integration through language, 3. integration through a religious cult, mysteries and festivities, 4. integration through the higher language of tragedy. Integration is conducted by the artist – the spirit is an artist. Still, it was demonstrated that these attempts of integration fail. Only one using speculative philosophy can succeed where the artist cannot: unity with the Absolute. (...) Integration, which was presented by Hegel in the Phenomenology of Spirit, and translated through different forms of the religion of art and the appropriation of the Absolute, leads to a point where the Absolute vanishes: at first the man uses it as a “cleaner, a house and in the feast of its victim“. Then, the inner being of the Absolute is consummated “in the mystery of bread of wine” and, finally, annihilated in the laughter of a comedy. The artist, an integrator of the Absolute in the life of the people, is at last so successful that the relationship is reversed: it is, finally, the true selfness, which rises as the master over the Absolute. The integration of the Absolute fails due to the hypocrisy of the artist’s work. The road the artist walks on, prepares the ground for uncovering an obvious religion and, thus, indirectly, for an appearance of speculative philosophy. (shrink)

U vremenu izmedju 1792. i 1805. Johan Gotlib Fihte razvija dva razlicita pojma otkrovenja: 1. Otkrovenje je na Bozjem autoritetu osnovana nauka kojom se unapredjuje moralno delovanje, 2. Otkrovenje je drzanje znanja u bicu i time spas od nihilizma. Sa svojim novim transcendentalno-filozofskim konceptom i u stalnom osvrtu na Jakobijevu kritiku da je idealizam u sustini nihilizam, Fihte daje uverljivu alternativu tradicionalnog pojma otkrovenja. U svojim kasnijim filozofskim radovima Fihte razume transcendentalno otkrovenje kao garanciju realiteta spoznaje, a ne kao proces (...) samosaznanja apsolutnog ili kao Bozje samootu?enje. Tekst se oslanja na Fihteove spise?Versuch einer Kritik aller Offenbarung? te?ErlangerWissenschaftslehre? i?Erlanger Logik?. Na primeru interpretacije koju je dao teolog Emanuel Hirs pokazuje se kako je moguce produktivno transformisati Fihteovu teoriju otkrovenja u danasnje vreme. (shrink)

Hegels Theorie des äußeren Staatsrechts in seinen "Grundlinien der Philosophie des Rechts" weist ausdrücklich Kants Idee eines Völkerbundes in der Schrift "Zum ewigen Frieden" als unrealistisch zurück; es gebe "keinen Prätor, höchstens Schiedsrichter und Vermittler zwischen Staaten, und auch diese nur zufälligerweise." Beide Konzepte – die Unausweichlichkeit auch gewaltsamer Konfrontationen der Staaten bei Hegel, die Möglichkeit ihrer rechtlichen Integration bei Kant – bilden den Gegenstand dieses Buchs. In den Beiträgen des Bandes geht es nicht nur um die Rekonstruktion der Theorien (...) Hegels und Kants, sondern auch um ihr Weiterdenken unter den heutigen Bedingungen der Globalisierung und asymmetrischer Kriege. Mit Beiträgen von: Samir Arnautovic, Andreas Arndt, Werner Becker, Hans-Georg Bensch, Paul Cruysberghs, Kazimir Drilo, Walter Jaeschke, Jean-François Kervegan, Heinz Kimmerle, Igor Mikecin, Vladimir Milisavljevic, Zvonko Posavec, Vahidin Preljevic, Andrzej Przylebski, Davor Rodin, Leo Šešerko und Jure Zovko. (shrink)

In the treatise “Suprematism. The World as Objectlessness or Eternal Peace” (1922), Kazimir Malevich positions himself as a “bookless philosopher” who did not consider theories of other philosophers. In fact, the treatise contains a large number of references to philosophers belonging to different traditions. A careful reading shows the extent to which Malevich’s theory is linked to the Russian religious philosophy of the early twentieth century. In my view, Nikolai Berdyaev, Sergei Bulgakov, Pavel Florensky—philosophers of “Religious Renaissance,” as well (...) as some other intellectuals—acquaint avant-gardists with Neoplatonic conceptions of apophasis. Malevich had access to ideas of fourteenth-century theologian Meister Eckhart, and I will refer to two sources to demonstrate this, including Margarita Sabashnikova’s translation of Eckhart and works of Sergei Bulgakov. Without any reference, Malevich retells the concepts of Dionysius the Areopagite, Meister Eckhart, and Gregory Palamas. I will demonstrate parallels between the treatise on Suprematism and Meister Eckhart’s Sermons concerning the concepts of apophaticism, Platonism, and Nothingness. I will also touch on the theme of Divine Light in the theology of Palamas (fourteenth century) to show the diversity of the avant-garde’s sources of inspiration. (shrink)

The subject of this research is the works of Kazimir Malevich of the period 1913–1914. Despite numerous scientific works and articles dedicated to the works of K. Malevich, the period of his becoming requires clarification. The object of this research is the Russian avant-garde art of 1913 – 1914. The author dwells on the compositional principles in the painter’s works of this period. Special attention is given to the colorful shapes and geometric elements underlying the compositions of his paintings. (...) Analysis is conducted on the the path of Kazimir Severinovich, the transition from Futurism and Cubo-Futurism through Fevralism to the original style – suprematism. The philosophical and art history analysis in combination with the general scientific methods of research allowed developing a representation on the transformation the artistic pursuits of Kazimir Malevich towards the dominant of the black geometric colorful shape, which subsequently led to the creation of the “Black Square” and the formation of suprematism. The article examines and compares the paintings of the period 1913–1914, when Malevich had moved from being a mentee to creating his own artistic language. The study of the paintings by Kazimir Malevich and determination of large group of works similar in the techniques and colors used allows broadening and complementing the knowledge on the period prior to suprematism. (shrink)

While Kazimir Malevich is widely known for his suprematist contributions to art, little attention has been granted to his articulated philosophical premise and methodological manifestation concerning the non-objectivity of thought and its relationship to feeling. This paper shows how Suprematist philosophy gives rise to the concept of pedagogical sensing that was first characterized by UNOVIS. Casting Suprematist aspersions on dominant educational practices that seek to reproduce what seemingly ‘is’, a non-objective collapse of all-too-certain frames is replaced by abstract essence. (...) As with the painter, teachers may be correspondingly invited to represent learning without past prejudice, as a creative contemplation in constituted spaces comprised of thoughts and feelings, that are so beautifully manifested through Malevich’s pieces of art and his associated, hitherto unrecognized, suprematist call to arms in education. (shrink)

Kazimir Malevich’s style of Suprematist painting represents the inauguration of nothing less than a new form of culture premised upon a demolition of the Western tradition’s reifying habits of objective thought. In ridding his canvases of all objects and mimetic conventions, Malevich sought to reconfigure human perception in such a way as to open consciousness to alternative modes of organization and signification. In this paper, I argue that Malevich’s revolutionary aesthetic strategy can be illuminated by a return to the (...) very basis of this tradition, namely by a reconsideration of Aristotle’s account in De Anima III.2 of the initial possibility of objective perception as such. (shrink)

The strength of the ideological explosion of the beginning of the last century, which led to the destruction of the principles of structural-matrix thinking, standard-stereotyped behavior, undoubtedly also reached the education system. However, according to the author’s opinion, the reason for the beginning of transformations in the sphere of education is not an external impact on the education system. External factors of influence, undoubtedly, contributed to the corrosion of the shell of the education system, but the breakthrough of “mantle of (...) education” could occur due to the centrifugal force of the accumulated internal energy. The boundaries of the closed educational space were unable to keep the critical mass of problems accumulated in education. The implosion of education, as one of the most inertial social systems, was inevitable.If the changes that have taken place in the societies of European countries in the New Age, in particular, led to the transition to a new type of university with a new content, while maintaining its old form, the changes that are currently observed, both in the higher and school education, attest to the gradual destruction of the form of educational institutions, their disclosure from within. The evidence of that is cloud schools, flipped classroom, flipped learning, MOOC with its educational resources and teaching methods: Podcast, Vodcast, Pre-Vodcasting. Despite criticism from representatives of the classical educational system, the popularity of modern teaching models continues to grow. (shrink)

Y a-t-il un art communiste? was given as a talk at the Grand Palais in Paris on 10 April 2019 on the occasion of a special exhibition, Red: Art and Utopia in the Land of the Soviets (Rouge: Art et utopie au pays des Soviets). The exhibition ran from 20 March 2019 to 1 July 2019. Red displayed works produced in the wake of the October Revolution of 1917 to the death of Joseph Stalin in 1953. This covers early experiments (...) by avant-garde artists such as Vladimir Mayokovsky and Kazimir Malevich, the grand-scale construction of public monuments, and the mass-produced art of Vladimir Tatlin and Alexander Rodchenko. Like many of Jacques Rancière’s recent publications on art, this article closely engages the material of its source exhibit, and, in it, he addresses the full range of art staged by the Grand Palais, offering a direct and provocative confrontation with the question of whether there can be a communist art. (shrink)

This book reveals how, when, where and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Tauber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of (...) energies, imaginings, intuition and memories, unconstrained by mechanistic materialism and chronometric imperatives, to generate what the philosopher Henri Bergson aptly called Creative Evolution. Following the three main dimensions of Vitalist Modernism, the first part of this book reveals how biovitalism at the fin de siècle entailed the pursuit of corporeal regeneration through absorption in raw nature, wholesome environments, aquatic therapies, electromagnetism, heliotherapy, modern sports, particularly rugby; water sports, the Olympic Games and physical culture to energize the human body and vitalize its life force. This is illuminated by artists as geoculturally diverse as Gustave Caillebotte, Thomas Eakins, Munch and Albert Gleizes. The second part illuminates how simultaneously vitalism became aligned with anthroposophy, esotericism, magnetism, occultism, parapsychology, spiritism, theosophy and what Bergson called "psychic states", alongside such new sciences as electromagnetism, radiology and the Fourth Dimension, as captured by such artists as Juliette Bisson, Giacomo Balla, Albert Besnard, Umberto Boccioni, Eva Carrière, John Gerrard Keulemans, László Mohology-Nagy, James Tissot, Albert von Schrenck Notzing and Picasso. During and after the devastation of the First World War, the third part explores how Vitalism, particularly Bergson's theory of becoming, became associated with Dadaist, Neo-Dadaist and Surrealist notions of amorality, atemporality, dysfunctionality, entropy, irrationality, inversion, negation and the nonsensical captured by Hans Arp, Charlie Chaplin, Theo Van Doesburg, Kazimir Malevich, Kurt Schwitters and Vladimir Tatlin alongside Cage's concept of Nothing. After investigating the widespread engagement with Bergson's philosophies, Vitalism and art by Anarchists, Marxists and Communists during and after the First World War, it concludes with the official rejection of Bergson and any form of Vitalism in the Soviet Union under Stalin. This book will be of vital interest to gallery, exhibition and museum curators and visitors plus readers and scholars working in art history, art theory, cultural studies, modernist studies, occult studies, European art and literature, health, histories of science, philosophy, psychology, sociology, sport studies, heritage studies, museum studies and curatorship. (shrink)

The article presents a comparison of the interpretations of Edmund Husserl’s early philosophy, created in different local contexts: ones by Polish researchers (Kazimir Tvardovsky, Jan Luka sevich, Vladyslav Tatarkevych, Roman Ingarden, Aleksander Rozenblum-Augustowski) in the period 1895-1945, and Ukrainian philosopher Volodymyr Yurynets. This comparison takes place against the background of considering the differences in the conditions of the development of philosophy in pre-war and interwar Poland and the USSR. The author demonstrates the similarity of the readings of Husserl’s phenomenology (...) by Polish researchers and Yurynets and proves that the similarity between them is not only in the thematic focus of criticism of phenomenological philosophy, but also in its validity and level. In addition, the author offers an approach to the study of Yurynets’ figure and work, based on considering him primarily as a representative of Western intellectual culture. In particular, the possibility of considering Yurynets ‘ objections to Husserl’s project of phenomenological philosophy not as determined by ideological dictates, but as symptomatic of the European intellectual culture of the beginning of the 20th century is substantiated. Both Yurynets and the Polish phenomenological movement criticize phenomenology for its lack of coherence, and it is about both the internal coherence of phenomenological philosophy and its coherence with contemporary sciences. Particular attention is paid to the role of Yurynets in the history of Ukrainian studies of phenomenological philosophy in the context of the discussion about the origins of phenomenological studies in Ukraine.The author considers the investigations of the phenomenological movement in Poland to be fruitful for modern studies of phenomenological philosophy in Ukraine - a phenomenon that had a significant impact on the development of a wide range of humanitarian disciplines in Europe in the 20th-21st centuries and which has direct intersections and common personalities with Ukrainian philosophy. The same seems promising for other European local traditions. (shrink)

Este artigo parte da análise do Impressionismo, do abstracionismo de Kazimir Malevich e dos penetráveis de Hélio Oiticica para pensar o processo de eliminação das bordas do quadro-pintura. A tese de Oiticica é a de que, no momento em que viveu e atuou, o quadro-pintura passa a prescindir das bordas, derramando-se para fora dele e se constituindo como modus vivendi, eliminando, assim, a noção de um fora e um dentro. Com isso, defende a substituição do espectador pela do participador. (...) Perguntamo-nos se o cinema, com suas bordas móveis, também é tocado por essas mudanças. Para tanto, tomaremos O Cinema Novo e o Cinema Marginal. Por fim, pensamos se a instituição escolar, como herdeira dessas questões, tem se inserido nesse debate e qual tem ou seria seu papel. Nesse sentido, fica a pergunta sobre o que se deve esperar dessa instituição depois da diluição do quadro e das vanguardas históricas. (shrink)