Arts and Humanities, Misc

The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...) the fleetingness of life, making it a "town-scape" vanitas. (shrink)

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

Drops Dripped - WKCD - What Does It Do? - Techne - Faux Year Zero - Commercium as Ethics - Fictitious Space - The Module - The Image - Art, Love, Revolution. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 285-306.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

In this paper I shall argue that useful correspondences can be drawn between the role of depiction in showing a view of the world and the realisation that would view God as a picture of experience in the world, since both can be seen to illustrate an art of interpretation. The perceptual insight that is gleaned in mystical-philosophical consciousness converges on the idea of a realm that is marked as divine, and by exploiting mental and linguistic imagery this mindful awareness (...) can be made concrete in the form of a written text, which can be seen to be analogous to a pictorial representation. The writer of a text purportedly sees and knows the domain of divine reality through sensible and conceptual means and then reduces this consciousness to a planar form, which is observable as an artistic rendering. The reader, who is at the same time a viewer, is invited to perceptually and imaginatively attend to the artifact as a manifestation of the experient's understanding of the functional nature of God, and in this apprehension of the divine scenario in the textual picture the interpretative motif of God-in-the-painting is revealed. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

One of the most widely read books in the world, considered a metaphor for the human condition, and suitable for a variety of interpretations, The Adventures of Pinocchio has had a major impact on world culture. The book responds to a prerogative that belongs only to masterpieces: that of being out of time. The book focuses on the psychological investigation of his central character Pinocchio, while trying to discover a humanity lost in the vacuum of technology and science. The myth (...) of Pinocchio is used to condemn the culture of violence and consumerism. Collodi successfully uses metaphorical interactions, bipolarities, and ambiguous miracles. Pinocchio's identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. The Adventures of Pinocchio explore how experiences gained in heterotopic space give the individual the ability to change panoramic vision, and how these experiences can ultimately show us how we can recover or restore our existence as individual subjects. -/- CONTENTS: -/- Abstract Carlo Collodi The Adventures of Pinocchio Pinocchio The Myth The Psychology The Duality The Heterotopy The Identity Artificial Intelligence The Humanism The Becoming The Demiurge The Education Bibliography -/- DOI: 10.13140/RG.2.2.20541.38887. (shrink)

Mathematics has a long track record of refining the concepts by which we make sense of the world. For example, mathematics allows one to speak about different senses of "sameness", depending on the larger context. Phenomenology is the name of a philosophical discipline that tries to systematically investigate the first-personal perspective on reality and how it is constituted. Together, mathematics and phenomenology seem to be a good fit to derive statements about our experience that are, at the same time, well-defined, (...) precise, and significant to our inner lives. However, there are difficulties stemming from the fact that phenomenology deals with inherently subjective things. Phenomenological investigations seem to lose their appeal when trying to approach them in the clear-cut way afforded by mathematics. How to overcome this obstacle? We argue that the Arts play a special role in mediating between the precise statements of mathematics and the sometimes fuzzy nature of our experience. Mathematics and art are complementary ways to come to a comprehensive understanding of reality. (shrink)

for a better literature, to understand literary tradition in Portugal.

is happyness productive? See book by Roger Scruton, "On Pessimism".

the journal of everyday life, between success and resiliation, shine and shadow, clarity and sadness.

Rodney Needham bipolarity in a small context.

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

This paper’s aim is to establish an explanation for the separation of Northern minds, by examining the influence of a variety of factors on the shaping of people’s sense of identity at the time. Near the end of the 16th century the Groningers had proven to be a people with a mind of their own—impetuous, unruly and, in the end, unwilling to join the Republic in its efforts to liberate itself from its oppressive Spanish overlord. One by one the Dutch (...) cities had joined the revolution, but the city of Groningen refused. The ‘Ommelanden’—the city’s surrounding territory—however, did not—laying bare a critical disagreement between two ‘classes’: the Saxon city elite and the predominantly Frisian countryside nobles (Dutch plural: landjonkers/jonkheren). (shrink)

This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important treatment of (...) art is a puzzle worthy of consideration. It is argued that Oakeshott's exclusion of history is intimately related to his interest in art's non-temporality, specifically, the ability of art to create a fictive "world of the text" which includes representations of human action in time which are set apart from both history and practical human conduct. (shrink)

It is no accident that white privilege designed to be both be invisible and weightless to white people. Alison Bailey’s “On White Privilege and Anesthesia: Why Does Peggy McIntosh’s Knapsack Feel Weightless?” extends a weighty invitation white readers to complete the unpacking task McIntosh (1988) began when she compared white privilege to an “invisible and weightless knapsack.” McIntosh focuses primarily making white privilege visible to white people. Bailey’s project continues the conversation by extending a ‘weighty invitation’ to white readers to (...) explore why the metaphorical knapsack, despite the weight of its contents, feels weightless. Here’s the short answer. The knapsack only feels weightless because white people have become anesthetized us to our own brokenness. We are more comfortable considering what white privilege does for us than what it does to us. People of color feel the weight of whiteness every day. The weighty invitation invites white readers to become sensitive to our own insensitivity. To do this Bailey (1) explores white resistance to unpacking the weight; (2) people of color’s testimonies to the daily impact of the weight on their bodies; and (3) how the anesthesia of white privilege distorts our humanity. The article concludes with a McIntosh style list of that the anesthesia of privilege distorts white people’s humanity. (shrink)

Philosophy of art, reflective practice of art and painting, meta-philosophy, meta-philosophical methods.

The paper argues that the digitalization enterprise revives, beyond the post-modern period of interpretive anarchism, the XIXth century ideal of philological probity.

HIV and AIDS is still menace bedeviling society particularly in 3rd world countries such as Zimbabwe. The impacts of HIV/AIDS are gravely felt within workplaces as affected employees suffer from stigma and prejudice. Organizations also suffer as the pandemic leads to high absenteeism and a high rate of employee turnover. This writing therefore addresses the impact of HIV/AIDS in organizations and communities and how the Zimbabwean Government, NGOS, Trade Unions and Companies have been battling this pandemic and the achievements made (...) to date. (shrink)

We are considered to be highly evolved conscious beings, but if we look at ourselves, do we actually feel that we are there; wise men or Homo sapiens as we call ourselves? In today’s world, reward based conditioning forms our contemporary culture that deeply defines how we look at life and how we intuitively perceive our consciousness. Presently, acquisitions are our priority and we behave as narcissistic conditioned puppets and let governments and corporations rule our lives. We are hypocrites that (...) can see, but behave blind; blinded within the realms of our short-termed thrills, joys and beliefs. Augmenting logical questioning and logical conditioning is the only way we can come out of this state that cannot be done individually, it has to be a collective effort. This paper is an attempt to understand our very own evolved consciousness and its relation to the current world with the true meaning of our existence, where we seek to understand it from a logical sense. (shrink)

Modern cognitive and clinical psychology offer insight into how people deal with natural disasters. In my methodological paper, I make a strong case for incorporating experimental findings and theoretical concepts of modern psychology into environmental historical disaster research. I show how psychological factors may influence the production and interpretation of historical sources with respect to perceptions of and responses to disasters. While previous psychological approaches to history mostly involve psychoanalysis, I focus on empirical psychology. Specifically, I review a number of (...) well documented heuristics, biases, and memory modulations as described by cognitive psychology. Moreover, I argue that including investigations on disaster related mental disorders would complement the environmental historical research of natural disasters. My approach highlights a strong potential for interdisciplinary collaborations among environmental historians and psychologists. (shrink)

In the spring of 2015, a series of shanshui landscapes by cartoon artist Feng Zikai decorated official China Dream posters in Shanghai, and could since then be encountered in the streets and subway stations of all major cities. While the dissem- ination of national values and active citizen participation in the government’s envi- ronmental modernization program is clearly the major trajectory, this rapprochement towards a formerly prosecuted artist concomitantly illustrates the current reorientation towards local traditions and cultural continuity in China’s (...) state ideology and propa- ganda work. At the same time, the 2014/15 Shanghai arts scene contributed a number of avant-garde landscape art works that pronounced their creators’ concern about the environmental crisis. It will be argued that there is a subliminal dialogue between Xi Jinping’sproject of landscaping the China Dream and the artists’ selective reclamation of shanshui aesthetics in their ecocritical approaches. Whereas the national propa- ganda machine strives to appease opposition against rampant industrial pollution and heritage demolition, the cultural sphere responds by taking the government’s tam- pering with traditional ethico-aesthetic principles at its word. (shrink)

This article presents a quantitative way of modeling the interim decisions of clinical trials. While statistical approaches tend to focus on the epistemic aspects of statistical monitoring rules, often overlooking ethical considerations, ethical approaches tend to neglect key epistemic dimension. The proposal is a second-order decision theoretic framework. The framework provides means for retrospective assessment of interim decisions based on a clear and consistent set of criteria that combines both ethical and epistemic considerations. The framework is broadly Bayesian and addresses (...) a fundamental question behind many concerns about clinical trials: What does it take for an interim decision (e.g., whether to stop the trial, or continue) to be a good decision? I provide simulation illustrating the modeling of interim decisions counterfactually using the framework. (shrink)

The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...) the relevance of Schelling’s aesthetics to resolving humanity’s long-standing ethical problems has been neglected. In this paper, I begin by framing Schelling’s view on religion, contextualising his ontological, cosmological approach to art. I then argue why his ‘dialectical aesthetics’, grounded in ‘process metaphysics’, presents a radical advance on Kant’s and Hegel’s ‘reflective’ standpoint featured in our dominant theoretical aesthetic paradigm (causing art’s sharpest decline via the evolving ‘modern’ suppression of metaphoric thinking by ‘symbolic idealism’, at the heart of our ‘worlding’ problems). Then, showing how Schelling’s Principle of Art leads us archetypally back to the normative sciences, I argue redirecting the self-destructive modern mythology means reorienting ‘final cause’ in our narratology. And why this firstly requires distinguishing proper metaphor from the symbolic constructions common in ‘conceptual art’. (In a subsequent paper, Schelling’s Art ‘in the Particular’ will be revealed to offer the practical application of his Principle to any artforms/works ‘for all time’ in praxis, advancing my argument here for why his system offers a suitable framework for collectively re-worlding the world). (shrink)

[114 pages] This special issue “Understanding Chinese Culture in the World” represents contributions to the Young Experts Symposium 2022 (YES 2022). The event was held online at Beijing Normal University, Zhuhai (China) and provided a platform for topics related to classical, modern, futuristic, and comparative perspectives on Chinese culture—across generations, cultures, and disciplines.

Explores the significance of postwar German representations of violence in other places and times. -/- .

Over the last two years, the third wave of artificial intelligence (AI) has emerged powerful tools for both artistic expression and scientific research. In design, image generators display an equivalent disruption to text generators, while the medium of text creates the new scope of writing prompts. This contribution discusses the ambivalences between text and image generators via two main theses: first about the potential of prompting and generated images as a medium of discourse; second, it examines the reasoning behind their (...) tendency to be mystified. Prompts can be automated through text generators and used to generate images on a wider scale, making it a praxis in which precise wording becomes crucial for generating anything. Generated images practice a form of mimesis. With Generative Adversial Networks (GANs) producing non-referential images, the discourse of illustration is concerning the obsolescence of authorship. AI is observed to manifest a dual character, serving as both tool and author, even though AI does not own the classification of a person and is not an author in legal terms. The utilization of text and image generators is intertwined with a mythicized notion due to their non-verifiable mode of operation. The myth of AI is a product of its indeterminacy. (shrink)

Δύο επίμονα θέματα ζωντανεύουν όλη τη γραφή του Αλμπέρ Καμύ και αποτελούν τη βάση του καλλιτεχνικού του οράματος: Το ένα είναι το αίνιγμα του σύμπαντος, το οποίο είναι εκπληκτικά όμορφο αλλά αδιάφορο για τη ζωή. Το άλλο είναι το αίνιγμα του ανθρώπου, του οποίου η λαχτάρα για ευτυχία και νόημα στη ζωή παραμένει άσβεστη από την πλήρη επίγνωση της δικής του θνητότητας και της κυρίαρχης αδιαφορίας του περιβάλλοντός του. Στη ρίζα κάθε μυθιστορήματος, κάθε θεατρικού έργου, κάθε δοκιμίου, ακόμη και κάθε (...) καταχώρησης στα τετράδιά του βρίσκεται η αδιάκοπη ανάγκη του Καμύ να διερευνήσει και να προβληματιστεί για τον ειρωνικό διπλό δεσμό που αντιλαμβανόταν ότι ήταν η ουσία της ανθρώπινης κατάστασης: Ο άνθρωπος είναι προικισμένος με τη φαντασία να συλλάβει μια ιδανική ύπαρξη, αλλά ούτε οι συνθήκες, ούτε οι δικές του δυνάμεις επιτρέπουν την επίτευξή της. Η αντίληψη αυτού του απελπιστικού διπλού δεσμού έκανε αναπόφευκτη στον Καμύ την υποχρέωση να αντιμετωπίσει ένα κυρίαρχο ηθικό ζήτημα για τον άνθρωπο: Δεδομένης της περιορισμένης κατάστασης του ανθρώπου, υπάρχουν έντιμοι όροι με τους οποίους μπορεί να ζήσει τη ζωή του;. (shrink)

Paulo Freire’s contribution to pedagogical discourses is commonly encapsulated behind the notions of the “banking method” and “culture of silence” which connotes classroom practices that subjects the learner into domesticating pedagogical methods and contents. In Freire’s Pedagogy of the Oppressed, this phenomenon is not only restricted to classroom dynamics, but in fact, reflective of domination in the public sphere. In this work, therefore, I will discuss the political angle of Freire’s critical pedagogy founded in his analysis of domination and anti (...) -dialogical praxis. -/- Hence, this work will expose the way in which Freire translates the power dynamics of anti-dialogical culture and politics into an alienating classroom environment. In this light, this paper also aims to provide a conceptual grammar in analyzing the contemporary direction of pedagogical practices. Though the aim of this work is simply exposing Freire’s theory of domination, on the one hand, its theoretical underpinning could guide and direct modern pedagogues in cultivating the learner’s critical consciousness. On the other hand, I believe the discourse of critical pedagogy holds a comprehensive approach to domination which will provide a formidable theoretical framework in the pursuit of political consciousness – realizing Freire’s conscienticized learner. (shrink)

Urban spaces, often emerging outside formal, recognized boundaries, underscore the pivotal role women play in shaping these environments. Despite the enduring influence of patriarchal and hierarchical structures that render these spaces overtly gendered, it is within these contexts that women’s actions become particularly transformative. Drawing from feminist urban theories of the global south, this paper investigates informal placemaking, feminist urban activism, revolutionary placemaking, online protest movements, and the networks that support women’s solidarity groups. Employing a mixed-methods approach that includes case (...) studies, interviews with activists, and social media analysis, this research focuses on Iran, with a specific emphasis on the recent ‘Women, Life, Freedom’ movement. This study not only highlights how women navigate, contest, and reshape urban spaces through feminist urban activism and informal revolutionary placemaking but also anticipates the broader implications of these actions for urban planning and policy. By analyzing and comparing these case studies, we aim to uncover the commonalities, differences, challenges, and opportunities between informal/formal, state-led/bottom-up, and revolutionary feminist placemaking practices in Iran. The findings of this paper are expected to contribute valuable insights into the dynamics of feminist urbanism and suggest avenues for future research in enhancing the inclusivity and responsiveness of urban spaces to gendered needs and activism. (shrink)

It is a remarkable thing to find oneself suddenly surprised by an author after having spent years analysing, interpreting, and teaching their works. And yet, that is precisely the experience of many Kant specialists in recent times, as greater attention than ever has been placed on Kant’s discussions of gender and race. Part of the disorientation for Kantians surely comes from the way in which these investigations—oriented as they are by questions of empire as opposed to say, metaphysics—are able to (...) make a body of work that has been long-familiar seem strange and new. It is in this vein that I want to use my discussion here as an opportunity to reconsider one of Kant’s most familiar texts, the Groundwork of the Metaphysics of Morals, in order to focus on the case of moral failure presented by the person who has chosen an easy path in life: one who has ‘seine Talente verrosten ließ’ (4:423; let their talents rust, 75), to use Kant’s phrase.1 With this in focus, I will identify four subsequent counter examples offered up by Kant, each meant to offer specific cases of non-Europeans in a manner that can provide further moral instruction on this point. What this approach should reveal is not only Kant’s unsurprising consistency regarding the need for self-improvement, but also the compatibility he evidently saw between engaging his readers in moral guidance, on the one hand, and identifying non-European others as counterexamples of a morally worthless existence, on the other. (shrink)

La práctica de Actividad Física y Deportiva en los procesos de reinserción promueve escenarios formativos integrales para la construcción de relaciones saludables dentro del entramado social, presentándose como una herramienta efectiva para el trabajo con jóvenes en situación de riesgo por contexto de pandillas. Esta investigación tuvo como objetivo analizar la práctica del rugby como alternativa dentro de los procesos de reinserción social de jóvenes ex-integrantes de pandillas junto al Colectivo Calle, Paz y Respeto de la ciudad de Ibarra-Ecuador. La (...) investigación empleó un enfoque cualitativo basado en el estudio de caso y análisis etnográfico, utilizando entrevistas semiestructuradas para recopilar datos. El análisis, codificación y categorización de la información se realizó mediante el software MAXQDA, enfocándose en tres categorías: Actividad Física y Deportiva, Reinserción Social e Identidad. Los resultados revelan correlaciones significativas, como la relación entre reinserción social y oportunidades de superación; uso adecuado del tiempo libre y salud mental; y, la decisión de cambiar y oportunidades de superación. Se concluye que el rugby se presenta como un medio eficaz para la reinserción social de jóvenes en situación de riesgo, gracias a su potencial para mitigar conflictos, regular conductas violentas e inculcar hábitos positivos como la disciplina, respeto y compromiso. (shrink)

Contents I Introduction II Subalternation and Theology III Theology and Dogmatic Declarations IV The Mixed Principles of Theology V Virtual Revelation: The Unity of Theology VI Theology as a Natural Science VII Theology’s Certitude VIII Conclusion Notes Bibliography All the contents are fully attributable to the author, Doctor Victor Salas. Should you wish to get this text republished, get in touch with the author or the editorial committee of the Studia Poinsotiana. Insofar as possible, we will be happy to broker (...) your contact. (shrink)

The Handbook of Antique Photographs is a short publication created by UCLan Associate Lecturer Brandon Reece Taylorian as part of his Dating Antique Photographs Project funded by UCLan's Institute of Creativity, Communities and Culture. The Handbook begins with a brief history of the origins of portrait photography followed by Taylorian's introduction of a step-by-step method for deconstructing and dating antique photographs ('antique' is defined in the Handbook as referring to any photograph that is more than 100 hundred years old). The (...) Handbook then goes on to provide details on each type of nineteenth-century photograph from the earliest type daguerreotypes to ambrotypes, tintypes, cartes de visite, cabinet cards and cartes postale with examples given for each. Each of the sections includes details on fashion and style of the period, the composition and settings for photographs and the items portrait subjects commonly held. The Handbook concludes by outlining the useful role that photographer logos and royal warrants can play in helping family historians to estimate when their nineteenth-century photographs were taken. (shrink)

Trauma is notoriously difficult to communicate, as it often defies understanding. It unfolds over time and cannot be told through linear narratives. Nevertheless, we show that narratives can become a medium through which experiences of trauma may be shared, alleviating the sense of alienation common to post-traumatic experience. Drawing from one of the authors’ lived experiences of cancer and her illness narrative, we focus on the question of whether traumatic events can be narrated, known, and shared. In conversation with one (...) another, and building on phenomenological literature on trauma (Husserl, 1973, Walther, 1923), illness (Carel, 2021, 2016), and working with an autoethnographic approach to cancer (Pini, 2022; Pini and Maguire-Rosier, 2021; Pini and Pini, 2019) in this chapter we address the ways in which creative and expressive illness narratives—particularly the sharing of such experiences—can help patients heal or repair from trauma. We identify the moment of the cancer diagnosis as a traumatic event, as it constitutes the expulsion of the individual into an alienworld: the world of the sick. We demonstrate how a philosophical account of unification (Walther 1923) may help shed light on the complexities of traumatic experience and highlight the potential of embodied narratives to re-establish a sense of belonging through sharing trauma experiences. We present a case in which performance art serves not only as an act of creatively re-modelling the performer’s illness narrative, but as a means to communicate this experience. Sharing the experience of trauma and recovery contributes to a re-constitution of a sense of belonging. We highlight that the (re-)constitution of feelings of belonging is a dyadic process between the traumatized individual and others. An illness narrative needs to be heard, seen, or otherwise witnessed in order to fulfil its full healing potential. In this way, we hope to contribute to a better understanding of how a narrative approach can be fruitfully applied in clinical practice. (shrink)

Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of (...) experiences for Dasein that takes those experiences for granted as an axiological ground for their lives in the World. Heidegger sees that process as an inauthentic condition for Dasein's fundamental character. Everyday reasoning generates a variety of present-at-hand instruments to understand and interpret the World and Dasein itself; thus, Dasein moves between Das Man and authentic modes. With a Heideggerian approach, this article observes how the characters in the film Druk take themselves out of Das Man and go into the authentic mode and how they do this through alcohol. The primary data source is Druk and the four teacher characters in the film. In the movie, alcohol is not a ready- to-hand object but a tool motivating its users and pushing them to perform. It is an example equivalent to the Heideggerian analogy of the hammer. The movie is a well-fitting example of the Heideggerian position with the story of four teachers who experiment with having a certain amount of alcohol in their blood to achieve a better version of themselves. (shrink)

This paper explores the impact of furniture and machines on spatial organization and circulation systems in industrial buildings using space syntax analysis. While space syntax research covers various settings, industrial buildings have received limited attention. This study aims to address this gap by examining how machines and furniture influence spatial organization and circulation in two industrial buildings: A Nitrile Glove manufacturing facility and a textile manufacturing factory. The furnished and unfurnished floor plans were analyzed using space syntax software, DepthMapX, with (...) connectivity and agent-based analyses. The results indicate that unfurnished plans have centrally located connectivity values, whereas furnished plans create subspaces with varying connectivity. Agent-based analysis reveals that unfurnished spaces have high density in the center, while furnished spaces distribute density more evenly, resulting in more uniform circulation. This study concludes that industrial building spatial configurations result from a combination of architectural design and the placement of machines and furniture. (shrink)

How to participate proactively in a process of change and transformation, to shape our path within an uncertain future? With this publication, the State Of The Art Network marks a waypost on a journey which started in 2018, when like-minded Nordic and Baltic art organisations and professionals initiated this network as a multidisciplinary collaboration facing the Anthropocene. Over five years, ten organisations and around 80 practitioners from different disciplines, like the arts, natural sciences and humanities came together, online and in (...) person, for workshops, seminars and discussions. The aim was to find ways to create resilience and concrete actions on how to live through the change in culture, economy and the environment and to find concrete, hands-on methods to deal with the Anthropocene and the environmental crisis. As an outcome of this process, this publication takes a closer look at how we as practising artists, researchers and cultural actors can create elements for critical thinking and doing which can assist us in navigating the complexities of the present. -/- Edited for the State Of The Art Network by Erich Berger, Mari Keski-Korsu, Marietta Radomska and Line Thastum. -/- Produced and published by Bioart Society 2023. (shrink)