The article is a cultural-philosophical response to Ivan Gerát’s Legendary Scenes and his art history interpretation of the function of Slovak hagiographic pictorial art of the Late Middle Ages. The thrust is on paintings of Christian ethical extremism, reflected in the principle of imitatio Christi. It led to the deaths of martyrs and saints in the name of the Faith. The preponderance of brutal scenes involving the tortured human body in this period art is examined in detail and it is (...) suggested that these portrayals are disincentives that put off the mass culture beholder. The contextualist art history method employed in Gerát’s book is gradually explored, along with its potential to transform the uninterested postmodern beholder into an intelligent beholder and art tourist. Attention is paid to the educational and national branding aspects of Legendary Scenes. (shrink)

“Public” is here treated by its three extensions: most broadly, from the merely extrasomatic, where users of representations are initially distinguished from makers, through ‘published’ or for the general public, to the governmental, official—where the discussion begins, before turning in its second half to the more common, middle meaning. What is public in these ways, “spatial representation”, also has the different meanings of representation of space or representation by spatial means, and there are several kinds of space to be considered. (...) The styles of the two halves contrast, that of the first being an inductive mapping of neglected conceptual terrain of directive representations, that of the second linear: a continuous argument in answer to a question regarding descriptive spatial representation in the digital age. The common thread is the public as users of all such cognitive artifacts, and this use as interactive, with a range of implications for social collectivity. (shrink)

The causal closure of physics is usually discussed in a context free way. Here I discuss it in the context of engineering systems and biology, where strong emergence takes place due to a combination of upwards emergence and downwards causation. Firstly, I show that causal closure is strictly limited in terms of spatial interactions because these are cases that are of necessity strongly interacting with the environment. Effective Spatial Closure holds ceteris parabus, and can be violated by Black Swan Events. (...) Secondly, I show that causal closure in the hierarchy of emergence is a strictly interlevel affair, and in the cases of engineering and biology encompasses all levels from the social level to the particle physics level. However Effective Causal Closure can usefully be defined for a restricted set of levels, and one can experimentally determine Effective Theories that hold at each level. This does not however imply those effective theories are causally complete by themselves. In particular, the particle physics level is not causally complete by itself in the contexts of solid state physics, digital computers, or biology. Furthermore Inextricably Intertwined Levels occur in all these contexts. (shrink)

The aim is to examine the multiple meanings of creativity in creative economy. The meanings which reinforce the individual aspect stress that personal characteristics may unlock the wealth that lies within people. The definitions that reinforce the organizational and social aspects understand creativity as a process, which requires knowledge, networks, and technologies that interconnect novel ideas and contexts. The perspectives which reinforce the political aspect see that creativity took the status of a doctrine to secure collaboration between government and industry. (...) However, these notions of creativity stress its instrumental utility and undermine fantasy, play, or uselessness. (shrink)

Is aesthetics only about art that is beautiful as conventionally understood? If not, what purpose does art that may not be so serve?

In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...) Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film. (shrink)

En su laboratorio, Benjamin Libet les pidió a algunos participantes apretar un botón cuando lo decidieran. Pretendía medir, con un eeg, la secuencia entre el deseo de mover la muñeca, la activación del área motora cerebral y el movimiento. Los resultados parecen negar la voluntad libre: primero se da la actividad cerebral, luego el deseo consciente de mover la muñeca y, finalmente, el movimiento. Nuestro cerebro —y no nuestra voluntad— decidiría nuestras acciones. En este artículo cuestiono el aparato conceptual de (...) tal explicación, haciendo énfasis en las nociones de voluntad, la relación mente-cuerpo y, sobre todo, la estructura de la conciencia. (shrink)

I will argue here that for many of us the act of dressing our bodies is evidence of intentional expression before different audiences. It is important to appreciate that intentionality enables us to understand how and why we act the way we do. The novel contribution this paper makes to this examination is employing clothing as a means of revealing the characteristics of intentionality. In that, it is rare to identify one exemplar that successfully captures the relationships between the cognitive (...) and physical characteristics of its application. Nevertheless, this paper will not attempt to fully encompass the traditional approaches associated with this concept but instead employ both the early and later writings of French phenomenologist Maurice Merleau‑Ponty and his claim that our lived bodies are an expressive space from which we act intentionally. In other words, that the manner by which we dress our bodies is likely to offer a significant means of revealing the character of intentionality in everyday life and by this, claim that clothing can communicate. Accordingly, this first‑person account closely examines both the cognitive and physical experience of a simple clothing example: ‘what to wear?’ and the experience of an everyday clothing purchase in a store and its subsequent impact when the item of clothing is worn for different audiences. The ensuing discussion systematically examines the significance of marrying Merleau‑Ponty’s writings with this everyday example through private and public audiences and in abstract and public spaces. (shrink)