As opposed to what is held in common opinion, the golden section never played any significant role in Antiquity or Renaissance. It is basically an invented tradition from Romanticism, and as such ascribed to earlier eras. The book contains a step by step investigation of the impact of the 'divine proportion' in mathematics, science and humanities.

Despite growing interest from historians in the built environment, the use of architecture as evidence remains remarkably under-theorized. Where this issue has been discussed, the interpretation of buildings has often been likened to the process of reading, in which architecture can be understood by analogy to language: either as a code capable of use in communicating the architect’s intentions or more literally as a spoken or written language in its own right. After a historiographical survey, this essay, by contrast, proposes (...) that the appropriate metaphor is one of translation. More particularly, it draws on the work of Mikhail Bakhtin to suggest that architecture—and the interpretation of architecture—comprises a series of transpositions. As a building is planned, built, inhabited, and interpreted, so its meaning changes. The underlying logic of each medium shapes the way in which its message is created and understood. This suggests that the proper role of the historian is to trace these transpositions. Buildings, then, can be used as a historical source, but only if the historian takes account of the particular problems that they present. In short, architecture should not be studied for its meaning, but for its meanings. As historians we are always translating architecture: not reading its message, but exploring its multiple transpositions. (shrink)

Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means (...) of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. (...) The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavored to form, yet did not bring about”. For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature”, but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. This paper seeks a possible answer to the question of how art ties us to reality. (shrink)

In the Olympic Art Competitions (1912–1948) Pierre de Coubertin expresses his conception of both sport and art as instruments of moral renewal. In this paper, this conception is criticised for failing to appreciate art and sport as necessary manifestations of modernism. The Art Competitions were informed by a traditionalist aesthetic, and thus played a highly conservative role within Olympism. A modernist art about sport, in contrast, would have been a source of critical reflection, potentially protecting the Olympic movement from corrupting (...) exploitation by commercial and nationalistic interests. The conclusion defends the need for Cultural Olympiads, as a source of such critical reflection, that are at once modernist in conception and yet, unlike their current expression, are centrally about sport. (shrink)

Abstract: There is much that I admire in Richard Moran's account of how first-person authority may be consistent with self-knowledge as an achievement. In this paper, I examine his attempt to characterize the goal of psychoanalytic treatment, which is surely that the patient should go beyond the mere theoretical acceptance of the analyst's interpretation, and requires instead a more intimate, first-personal, awareness by the patient of their psychological condition.I object, however, that the way in which Moran distinguishes between the deliberative (...) and the theoretical attitudes is ultimately inconsistent with a satisfactory account of psychoanalytic practice; mainly because, despite Moran's claims to the contrary, such a distinction is still inspired by a Cartesian picture of the self. I argue that, in the light of his distinction, Moran may emphasize that an agent's psychological dispositions should be permeable to her decisions and projects, but is forced to reject the idea that permeability could go the other way too. I explore Bernard Williams' notion of acknowledgment and Simone Weil's distinction between two notions of necessity, in order to articulate a notion of receptive passivity which may help us to characterize this second direction of permeability. I finally outline why receptive passivity (and, thereby, the double direction of permeability) is crucial in order to identify the goal of psychoanalytic treatment and, derivatively, to understand how a certain kind of awareness may have a significant therapeutic effect. (shrink)

In the study of Buddhism it is commonly accepted that a monk or nun who commits a pārājika offence is permanently and irrevocably expelled from the Buddhist monastic order. This view is based primarily on readings of the Pāli Vinaya. With the exception of the Pāli Vinaya, however, all other extant Buddhist monastic law codes (Dharmaguptaka, Mahāsāṅghika, Mahīśāsaka, Sarvāstivāda and Mūlasarvāstivāda) contain detailed provisions for monks and nuns who commit pārājikas but nevertheless wish to remain within the saṅgha. These monastics (...) are not expelled. Rather, they are granted a special status known as the śikṣādattaka. In this paper I explore the rules. concerning pārājika penance and the śikṣādattaka with specific regard to monastic celibacy. Given that five out of six extant law codes recognise this remarkable accommodation to the rule of celibacy, I argue that we must look to Vinayas other than the Pāli Vinaya if we are to arrive at a nuanced and representative view of Indian Buddhist monasticism. Grant me chastity and continence, but not yet.Augustine of Hippo (354–430 C.E.). (shrink)

[opening paragraph]: An intriguing element of Paul Cezanne's legacy is that while he aligned his paintings with the classical Renaissance tradition of Western art, his innovative body of work ushered in a decisive break with the standards of that tradition in the twentieth century. The many ways in which Cezanne's representational system deviates from the pluralistic art of the twentieth century suggests that probing his allegiance to classicism offers a unique vantage point for studying visual art, perception, and consciousness. It (...) is for this reason that this paper examines Cezanne's contributions from both the painterly and the cognitive science perspectives, asking what artists in fact contribute to our studies in these areas. [A response to this article from Semir Zeki is published in Trends in Cognitive Science.]. (shrink)

Esta pesquisa tenciona apreender a moda das roupas, e afins, na obra de Marcel Proust, À la Recherche du temps perdu. Este escopo desdobra-se num exame sobre a fundação da estética proustiana da moda das roupas, assim como no exame acerca da história das roupas e sua função identitária, e no exame das vestimentas de importantes personagens femininas. O pensamento de Gilles Deleuze mostra-se presente em diversas etapas do trabalho, colaborando na costura do vestido proustiano. -/- This research intends to (...) capture the fashion of clothes and related subjects in the Marcel Prousts romance À la Recherche du temps perdu. The scope of this work is unfolded in an investigation on the foundations of the Proustian clothing fashions aesthetic, as well as the examination about the history of clothing and their identity role, and as well as the garments of important female characters. Ideas of Gilles Deleuze show up at various stages of this research, collaborating in Proustian fashion dress. (shrink)

I argue that apart from special circumstances, works of art cannot be restored since any change to the work’s aesthetic properties entails a change in the work’s identity. I argue that in a “restoration,” the work’s aesthetic properties are changed since the historical and authorial properties of a work are aesthetic properties. But I further argue that it is entirely possible for the new work created in a “restoration” to have greater aesthetic value than did the original work. This is (...) because of the richer aesthetic impact that the work can possess in virtue of the more evocative story attached to it. In such a case, I argue that the damage or deterioration that necessitates the “restoration” is actually redeemed as it is incorporated as aesthetic properties into a greater work than what existed before. I illustrate my arguments and claims with numerous historical examples. (shrink)

Nous remercions chaleureusement Thomas Golsenne de nous avoir autorisé à reproduire le texte ci-dessous PM – Cette conférence a été présentée au Centre d'art contemporain du Parc Saint-Léger à Pougues-les-eaux le 4 avril 2017, en marge de l'exposition de Florentine Lamarche et Alexandre Ovize, Les motifs sauvages. Que sa directrice, Catherine Pavlovic, soit chaleureusement remerciée de son invitation. Florentine Lamarche et Alexandre Ovize, L'Artichaut, 2015 Dans leurs gros vases - Esthétique – Nouvel article.

It is not a question here of demanding or strenuous work. In that sense of the word, we can work hard in almost any office and at almost any job. I can work hard writing this book, and sometimes do. A task or a cause that seems to us worth the hard work it entails is clearly a good thing. For all our natural laziness, we go looking for it. But hard has another sense--as in "hard winter" and "hard heart" (...) --where it means harsh, unpleasant, cruel, difficult to endure. Thus the account in Exodus of Israel's oppression, "And the Egyptians embittered their lives with hard labor" (1:14). Here the word describes jobs that are like prison sentences, work that people don't look for and wouldn't choose if they had even minimally attractive alternatives. This kind of work is a negative good, and it commonly carries other negative goods in its train: poverty, insecurity, ill health, physical danger, dishonor and degradation. And yet it is socially necessary work; it needs to be done, and that means that someone must be found to do it. (shrink)