LIMITS OF HUMAN SENSES,
Consciousness and Awareness
ULRICH DE BALBIAN
Meta-Philosophy Research Center
1
My art makes the invisible visible, limits of human awareness
1
Human consciousness and awareness is restricted by stereotypes and notions
that cause philosophers and artists to exist in the dark ages as far as their
perception and understanding of human inner and outer senses are concerned.
Humans perceive 7 colors of rainbows with 16 to 37 or more colors, that are
perceived by other organisms, for example certain sea creatures.
2
Ulrich de Balbian Bees’ eyes consist of a multitude of ommatidia — [almost
like groups] of small independent eyes. Trichromats, bees can see from the three
basic colors (red, blue, green) all the way into UV frequencies that enable them
to distinguish more precisely some flowers. Their vision is more than ten times
better than human performance.LikeShow more reactions
· Reply · 1
· 13 hrs
Manage
Jensen Ulrich de Balbian Dogs have somewhat the same vision as cats. They
have a less broad field of less vision, but like their feline cousin, their eyes are
equipped with a “tapetum lucidum,” a reflective membrane that allows them to
absorb five times more light than humans and gives them an excellent night
vision.
LikeShow more reactions
· Reply · 1
· 13 hrs
Manage
http://www.radiolab.org/story/211178-rip-rainbow/
We tear into this show with a dark scene from 1665. A young Isaac Newton,
hoping to ride out the plague by heading to the country to puzzle over the deep
2
mysteries of the universe, finds himself wondering about light. And vision. He
wants to get to the bottom of where color comes from--is it a physical property
in the outside world, or something created back inside your eyeball somewhere?
James Gleick explains how Newton unlocked the mystery of the rainbow. And,
as Victoria Finlay tells us, sucked the poetry out of the heavens.
Jonah Lehrer restores some of the lost magic by way of Goethe--who turned a
simple observation into a deep thought: even though color starts in the physical
world, it is finished in our minds.
Which, thanks to Mark Changizi, brings us to a very serious question: what do
dogs see when they look at the rainbow? We humans see seven colors: red,
orange, yellow, green, blue, and violet (ROYGBiV!). But as Thomas Cronin
and Jay Neitz--two guys who study vision--explain, that's just a sliver of the
spectrum. Along the way, we get some help imagining the rainbow from a
choir, and we meet a little sea creature (pictured below), who with 16 color
receptors, blows the rest of us earthlings out of the water.
Mantis shrimp, photo by ursanate/flickr-CC-BY-2.0
UPDATE: In the years since we first aired this episode, more research has
gone into these amazing little creatures and there is new evidence to suggest
that while the Mantis Shrimp has all the parts necessary to see a Super Duper
Rainbow, they may not, in fact, be engaging this potential. Curious? Check it
out!
Jensen Ulrich de Balbian http://www.radiolab.org/story/211178-rip-rainbow/
We humans see seven colors: red, orange, yellow, green, blue, and violet
(ROYGBiV!). But as Thomas Cronin and Jay Neitz--two guys who study
vision--explain, that's just a sliver of the spectrum. Along the way, we get some
help imagining the rainbow from a choir, and we meet a little sea creature
(pictured below), who with 16 color receptors, blows the rest of us earthlings
out of the water.
http://www.radiolab.org/story/211178-rip-rainbow/
https://english3183b.wordpress.com/2015/09/22/radiolab-colours-rippin-therainbow-a-new-one/
3
What affordances does sound carry that images or text do not?
http://www.radiolab.org/story/211178-rip-rainbow/
3
My art makes the invisible visible and extends and transforms your inner and
outer senses. Thereby your range and depth of conscious awareness becomes
broader and more subtle, flexible, focussed and sharper.
ulrichdebalbian
That what cannot be said might be shown. Ludwig Wittgenstein (philosopher,
mathematician).
4
My art makes visible that what is invisible. That what might be (verbally)
ineffable might be shown (revealed, made effable visually and through music).
My work could be labelled many things such as figurative, non-figurative,
symbolic, expressionistic, impressionistic, modernism, post-modernism, postminimalism, etc. In fact it shows (the processes and results of) making marks on
paper (canvas, board, carton or whatever support is used).
5
6
7
4
https://www.linkedin.com/pulse/ulrich-de-balbian-interviews-ulrich-de-balbian/
5
ulrich de balbian
ISSUU - South African Art Times by SA ART TIMES
arttimessaarttimesSep 2, 2012 - The invisible is made visible through my
work. Always nearer to the (he)art of Creation, but never close ULRICH DE
BALBIAN enough, yet.
In-depth chat with inspiring painter Ulrich de Balbian | SA ...
8
ulrichdeJun 14, 2012 - Who is Ulrich de Balbian and what do you do? I am in
my sixties, born ... I retired at forty from that so as to work full time on my art,
and writing.You've visited this page many times. Last visit: 6/10/15
Ulrich de Balbian | Saatchi Art
artulrichdebalbianView Ulrich de Balbian's Profile on Saatchi Art. Find art
for sale at great ... in the art world is a challenge at times, this "matrix" MAY
provide some useful starting points for us to explore with. .... Carla Sa
Fernandes liked this artwork 1 month ago ...
6
https://www.youtube.com/watch?v=ASdLSgaak2I
https://youtu.be/ASdLSgaak2I
<iframe width="420" height="315"
src="https://www.youtube.com/embed/ASdLSgaak2I" frameborder="0"
allowfullscreen></iframe>
7
http://sacreativenetwork.co.za/2012/06/in-depth-chat-with-inspiring-painterulrich-de-balbian/
Who is Ulrich de Balbian and what do you do?
I am in my sixties, born of a German mother and Dutch-French father.
I lived and studied in a number of countries, including Great Britain, France,
Germany and Spain.I have doctorates in Philosophy and Theology and
qualifications in Social Science and Fine Art.When i was young I did
sociological research in South Africa, so I know certain areas, of this vast and
very diverse (culturally and geographically) country.I worked as an academic
(philosophy, art and world religions) so that I did not have to be dependent on
the Art Industry for a living.
9
Through philosophy I reflected deeply on many aspects of existence, including
culture and more specially art, and the Western painting genre.
I specify Western as it is very different from the painting traditions from Asia,
China, India, Arabic countries, etc.
As social scientist and philosopher (I published fifteen books in that discipline,
two in theology and others) researched socio-cultural aspects of art , for
example the code of the discourse or socio-cultural; practice of Western
Painting.
As well as the Art Industry and Market. Many people interested in art and artists
do not realize that the centre of the Art Market has shifted from the West (1)
US, 2) UK, 3) France, 4) Germany) to Asia (1)China, 2)Taiwan, 3)Hong Kong,
4) Korea, 5)Singapore). Major Art Fairs and Biennales are held in those
countries and Private Collectors built their own museums, as there used to be
few national museums as in the west. Those private museum collections can
compare with the best national Museums in the West.
I mention the art Market and Industry as I question the traditional system of
commercial galleries, auctions and the influence of billionaire collectors on the
price of works of art. I am a maverick and rebel as far as these things are
concerned and i am not allowing them to control my type of work. Too many
artists, similar to the rest of the popular entertainment industry, felt the need to
produce sensational work, so as to be noticed. I never was dependent on the art
industry as I had other spruces of income as academic. I retired at forty from
that so as to work full time on my art, and writing.
I have studios in South Africa, the US, Spain and France.
How would you define your style or art?
The lengthy introduction above had a serious point. I wished to show that I
question all aspects of art, and especially painting. I intentionally choose to
paint, in the Western tradition, instead of working in the so-called New Media,
creating installations, performance art, ready made, etc. I think and hope that
there still is mileage in the Western tradition of painting.
I see my work as totally experimental and a kind of serious research. Not
merely in a cerebral or rational manner, but first of all on a sub-conscious level,
exploring how we think about objects, how we perceive them, etc
10
I work piecemeal, something like Wittgensteinian philosophers, exploring every
detail of the process of painting, bit by bit. Each of these bits are developed into
a series of paintings.
I do not have one single style, but gradually discovered that I unintentionally
work in series (of 2, 3, 4, 5, etc). The only other artist I have come across who
works in this manner is the German Gerhard Richter. If someone wishes to
understand my work better they should study his work (as well as Paul Klee,
Kandinsky and the ideas of the Bauhaus) as he is my predecessor. I do not
follow or copy him, but work in the same tradition as he, and they, did.
It appears as if I do not have one single style and that my work – the different
series – is merely random, but this is not the case. The larger picture will reveal
that my entire work form one unit, in other words the seemingly random
aspects, as in Chaos Theory, will be shown to make more sense in the totality.
Given all the above, my questioning of all aspects of the discourse or sociocultural tradition of painting, the manner in which our minds (thinking,
perception, etc), emotions and trial consciousness operates – leads to what I
termed New Styles, a style beyond one and all styles.
My work has a deeply spiritual side. Not in the narrow meaning of the word as
forming part of a particular religion, but as tuning into the Ground or basis of
existence of human beings, the earth and the entire Universe. Or rather the
many universes or multi-verse, as scientists are expressing it.
All this might appear to be very abstract, but painting and the process of
painting is something totally concrete. But, by means of paint, brushes, etc I
attempt to arrive more and more at the (he)art of Creation, the underlying
Ground or basis of all of Creation, of the building blocks of the Universe. This
has many similarities to the research of scientists of phenomena that are not
visible to the human eye, but that can only be thought in complex mathetical
formulae. By means of painting I make Visible that what is until that moment,
Invisible to usual human thinking. Most people think in a dualistic manner
(because they are socialized like that), but the non-dual way tells us that the
subject who perceives, the object that is perceived and the process of perception
is ONE whole (all religions, contemplatives and those who meditate attempt to
arrive at this non-dual, direct way of perceiving,. or of being one/d with that
what is perceived).
I express the above like this in the context of looking at my work:
The human mind treats smaller paintings as if it is looking AT an object or a
thing such as a table or chair.
11
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.
I always express what I think abstractly in this kind of very concrete manner.
And, by this simple example the point of all my seemingly abstract talk
suddenly comes together as something very concrete, and thereby shows that
matter (concrete painting and the stuff a painting is made of) and the spirit (ual)
is one – merely two different ways of looking at the same thing. Two
perspectives on the same thing, like the two sides of a coin, or looking at a
house from the front, the back, the sides, above. All the different points of view
contribute to one thing. In the tradition of Abstract painting, Braque, Picasso
and others tried to express this unity of many perspectives in a certain manner. I
explore and express or do it in a different way.
What inspires your work?
I am first of all a painter for the sake of the Western tradition of painting. By
this I mean, if it were not for certain painters who existed before me and
explored and developed this tradition of painting, I would not have been able to
think the way I do, and explore the process of painting in the manner I am
doing. I form part of this tradition. To feel part of this tradition is what inspires
me to paint – over and over again. As Richter said: one must be passionate
about doing this stupid thing of being all alone most of the time because if one
were not passionate about it, then for adults to play around with paint, colours,
etc would be nothing but mere idiocy.
I paint because I must, I cannot not do it – like some people need to eat, drink,
drive very fast, I must paint. The last part of why is because, I paint for the
handful; of serious painters of every generation or century who also feel obliged
to paint. Therefore, first of all I paint for a few other members of the discourse
or the interpersonal (intersubjective) community of artists or painters, especially
those who are yet unborn. If I could add anything to the discourse of painting,
explore, question, modify and develop its interpersonal code, then my life had
some meaning. Of course, I cannot judge this and it will only be seen more
clearly, what and if anything, I did contribute to this discourse. I suppose I, like
all serious artists, have a certain aesthetic ideal and vision, and that will be
expressed as my work. If it is the case that anyone else find anything in any of
my work, well – that always astonish me. That is the cherry on top of all the
being alone, doubts, questionings, searches, and so on.
I think something does happen in or through my work, because I have come
across a number of people who react with: stunning, it pulls me endlessly into
12
it; I must look at it over and over again. That is what a good painting always did
to me. I had to look at a Klee, Twombly, and Richter etc, over and over again,
and again return to look at it.
It is as if one is hypnotized by it, one’s mind is blown away, one experiences or
‘sees’, something, perhaps like the first day of the creation of the universe, like
first seeing one’s newborn baby – a bundle of massive potentials — for good,
bad, or whatever.
13
You are about to take off to the USA, why are you going there and what
lead to this?
Someone entered a few of my works for a competition called ‘Artists Wanted’.
If one were to receive more than 777 “likes” one progress to the next round. In a
few weeks my site – http://monkagain.artistswanted.org/atts2012 – received
more than a 1000 visits and the necessary number of ‘likes’. The work of the
winner will be shown on the gigantic billboard at Times Square, New York. I
am now through to the final round and my work, with the work of other finalists
will be shown at a VIP party on bright LED screens (9 ft x 12 ft) located on
14
Broadway and 43rd Street. The Times Square Billboard Premier Event will
consist of a number of famous US singers and groups.
I will also be visiting two museums who wish to acquire my work.
What are you currently working on?
Like, every day – putting the last series behind me, and feeling my way,
completely open-minded, into the beginning of another series. Until I begin
another series, I am a bundle of dynamite fuse that has been lit, and that must
find some way to explode – like racehorse permanently at the beginning of a
race.
15
What advice would you give young creatives looking to do what you do?
It is a very, very lonely road, do not do it for any external rewards. I do not
mean students who attend Art School with the purpose to obtain a degree, so as
to get work, but those few who realize that they must work in some area of art,
16
they have almost no choice in the matter – it is as if one is driven on. This is
both a curse and the greatest joy – to end up in the middle of creating something
that did not exist before, a new vision of the world, always nearer to the art, the
heart of Creation, the act of creating, but never close enough, yet. Because,
when one has finished, one must start all over again. In other words: be
prepared for work, endless work, and always questioning what you have done
and what you are doing. It is something very mundane, totally concrete, and
forget about glory, fame and other rewards – those things are short lived and
pass quickly.
Where can our readers follow your work?
I mostly place my work on online galleries, as that requires little time. I no
longer have time or an interest in spending a lot of time to organize an
exhibition, and online galleries reach the entire planet instantly –
My work can be seen here:
www.newstylesgallery.info
www.gallerygoodman.com
https://www.saatchiart.com/ulrichdebalbian
Ulrich de Balbian
Paris, France
14 Following 168 Followers
About Ulrich de Balbian
My latest work daily on my FACEBOOK page = Ulrich de Balbian; and
slideshows on my site = www.newstylesgallery.info ateliers in several countries
Prices for the work are INcorrect, contact seller … Read More
Education:
17
My latest work daily on my FACEBOOK page = Ulrich de Balbian; 1 of my
interviews - http://sacreativenetwork.co.za/2012/06/in-depth-chat-withinspiring-painter-ulrich-de-balbian/
50 videos on You Tube … Read More
Events:
1 of my interviews http://sacreativenetwork.co.za/2012/06/in-depth-chat-withinspiring-painter-ulrich-de-balbian/
http://ulrich-de-balbian-visual-art.culturalspot.org/home
As I am also a curator, … Read More
Exhibitions:
50 videos on YOU TUBE - http://youtu.be/ASdLSgaak2I
my site with more than 60 slide shows of my work www.newstylesgallery.info
http://ulrich-de-balbian-visual-art.culturalspot.org/home
As … Read More
and
http://www.artmajeur.com/?go=pages/top/list_artists_top100
There are more than 55,200 artists on the above site and for some reaching I am
mostly number one in popularity, and daily receive between 1000 – 3000
visitors.
Find me on FACEBOOK and TWITTER
A few people have recently made videos of some of my work for YOU TUBE –
http://www.youtube.com/watch?v=xD7tC8Hmjpk
http://www.youtube.com/watch?v=-Hfo1UsSL58
http://www.youtube.com/watch?v=yW7b72aRj94
18
Artists WantedBraquePicassoTimes Square Billboard PremierUlrich de Balbian
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9 Comments
Reply June 19, 2012
+Pablo Manuel
Sr. de Balbian uses the colours in the most “sorprendente” style.
I’ve never seen such mixture of colours in perfect harmony.
He is the best modern painter of our generation.
Good luck, dear Ulrich
+Pablo Manuel
19
Reply August 31, 2012
myra erickson
This was a fabulous interview with spectacular pix…the 3 dimensionality
of the paintings was great. the paintings leaped off the picture plane.
Thank you so much for sharing..i am glad to see such wonderful talent
here on art on google. Never stop creating!
Reply November 24, 2012
cecilia du toit
dear ulrich
nice to have read about you you seem very much interested in both the
cosmos and micro cosmos that is how i see your work an inspirational
reading for you would be pythagoras to wake the mathematical
mind…great work regards cecilia from namibia
Reply July 13, 2013
Ulrich de Balbian – Interview with images | ulrichdebalbian
[…] http://sacreativenetwork.co.za/2012/06/in-depth-chat-with-inspiringpainter-ulrich-de-balbian/ […]
Reply July 26, 2013
Olga Baudilia Peralta
Urich de Balbian, muy buenas obras en cuanto a armonía en el uso del
color,.distribución en el espacio y , movimiento, en varias obras. Gracias
–
Reply September 20, 2013
20
K53 learners test
Great..
Well done for the views on the content In-depth chat with inspiring
painter Ulrich de Balbian |
SA CREATIVES.
They have already been extremely effective. I really enjoyed
browsing your write-up..
Reply May 27, 2014
Kleber Auad
I like that. Amazing, Wonderous and Blissful colors,
Reply August 9, 2016
Ulrich de Balbian
Thanks for the MANY kind remarks emailed to me.
I literally paint 24/7 and ALL the time, while writing in between
(philosophy), apart from feeding the many homeless who come to my
place. I spend all my money on the latter.
21
As social scientist and philosopher (I published fifteen books in that discipline, two in
theology and others) researched socio-cultural aspects of art , for example the code of the
discourse or socio-cultural; practice of Western Painting.
As well as the Art Industry and Market. Many people interested in art and artists do not
realize that the centre of the Art Market has shifted from the West (1) US, 2) UK, 3) France,
4) Germany) to Asia (1)China, 2)Taiwan, 3)Hong Kong, 4) Korea, 5)Singapore). Major Art
Fairs and Biennales are held in those countries and Private Collectors built their own
museums, as there used to be few national museums as in the west. Those private museum
collections can compare with the best national Museums in the West.
22
I mention the art Market and Industry as I question the traditional system of commercial
galleries, auctions and the influence of billionaire collectors on the price of works of art. I am
a maverick and rebel as far as these things are concerned and i am not allowing them to
control my type of work. Too many artists, similar to the rest of the popular entertainment
industry, felt the need to produce sensational work, so as to be noticed. I never was dependent
on the art industry as I had other spruces of income as academic. I retired at forty from that so
as to work full time on my art, and writing.
I have studios in South Africa, Spain and France.
How would you define your style or art?
The lengthy introduction above had a serious point. I wished to show that I question all
aspects of art, and especially painting. I intentionally choose to paint, in the Western
tradition, instead of working in the so-called New Media, creating installations, performance
art, ready made, etc. I think and hope that there still is mileage in the Western tradition of
painting.
I see my work as totally experimental and a kind of serious research. Not merely in a cerebral
or rational manner, but first of all on a sub-conscious level, exploring how we think about
objects, how we perceive them, etc
I work piecemeal, something like Wittgensteinian philosophers, exploring every detail of the
process of painting, bit by bit. Each of these bits are developed into a series of paintings.
23
I do not have one single style, but gradually discovered that I unintentionally work in series
(of 2, 3, 4, 5, etc). The only other artist I have come across who works in this manner is the
German Gerhard Richter. If someone wishes to understand my work better they should study
his work (as well as Paul Klee, Kandinsky and the ideas of the Bauhaus) as he is my
predecessor. I do not follow or copy him, but work in the same tradition as he, and they, did.
It appears as if I do not have one single style and that my work – the different series – is
merely random, but this is not the case. The larger picture will reveal that my entire work
form one unit, in other words the seemingly random aspects, as in Chaos Theory, will be
shown to make more sense in the totality.
Given all the above, my questioning of all aspects of the discourse or socio-cultural tradition
of painting, the manner in which our minds (thinking, perception, etc), emotions and trial
consciousness operates – leads to what I termed New Styles, a style beyond one and all
styles.
24
My work has a deeply spiritual side. Not in the narrow meaning of the word as forming part
of a particular religion, but as tuning into the Ground or basis of existence of human beings,
the earth and the entire Universe. Or rather the many universes or multi-verse, as scientists
are expressing it.
All this might appear to be very abstract, but painting and the process of painting is
something totally concrete. But, by means of paint, brushes, etc I attempt to arrive more and
more at the (he)art of Creation, the underlying Ground or basis of all of Creation, of the
building blocks of the Universe. This has many similarities to the research of scientists of
phenomena that are not visible to the human eye, but that can only be thought in complex
mathetical formulae. By means of painting I make Visible that what is until that moment,
25
Invisible to usual human thinking. Most people think in a dualistic manner (because they are
socialized like that), but the non-dual way tells us that the subject who perceives, the object
that is perceived and the process of perception is ONE whole (all religions, contemplatives
and those who meditate attempt to arrive at this non-dual, direct way of perceiving,. or of
being one/d with that what is perceived).
I express the above like this in the context of looking at my work:
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.
I always express what I think abstractly in this kind of very concrete manner. And, by this
simple example the point of all my seemingly abstract talk suddenly comes together as
something very concrete, and thereby shows that matter (concrete painting and the stuff a
painting is made of) and the spirit (ual) is one – merely two different ways of looking at the
same thing. Two perspectives on the same thing, like the two sides of a coin, or looking at a
house from the front, the back, the sides, above. All the different points of view contribute to
one thing. In the tradition of Abstract painting, Braque, Picasso and others tried to express
this unity of many perspectives in a certain manner. I explore and express or do it in a
different way.
26
What inspires your work?
I am first of all a painter for the sake of the Western tradition of painting. By this I mean, if it
were not for certain painters who existed before me and explored and developed this tradition
of painting, I would not have been able to think the way I do, and explore the process of
painting in the manner I am doing. I form part of this tradition. To feel part of this tradition is
what inspires me to paint – over and over again. As Richter said: one must be passionate
about doing this stupid thing of being all alone most of the time because if one were not
passionate about it, then for adults to play around with paint, colours, etc would be nothing
but mere idiocy.
I paint because I must, I cannot not do it – like some people need to eat, drink, drive very fast,
I must paint. The last part of why is because, I paint for the handful; of serious painters of
every generation or century who also feel obliged to paint. Therefore, first of all I paint for a
few other members of the discourse or the interpersonal (intersubjective) community of
artists or painters, especially those who are yet unborn. If I could add anything to the
discourse of painting, explore, question, modify and develop its interpersonal code, then my
life had some meaning. Of course, I cannot judge this and it will only be seen more clearly,
what and if anything, I did contribute to this discourse. I suppose I, like all serious artists,
have a certain aesthetic ideal and vision, and that will be expressed as my work. If it is the
case that anyone else find anything in any of my work, well – that always astonish me. That
is the cherry on top of all the being alone, doubts, questionings, searches, and so on.
I think something does happen in or through my work, because I have come across a number
of people who react with: stunning, it pulls me endlessly into it; I must look at it over and
27
over again. That is what a good painting always did to me. I had to look at a Klee, Twombly,
and Richter etc, over and over again, and again return to look at it.
It is as if one is hypnotized by it, one’s mind is blown away, one experiences or ‘sees’,
something, perhaps like the first day of the creation of the universe, like first seeing one’s
newborn baby – a bundle of massive potentials — for good, bad, or whatever.
You are about to take off to the USA, why are you going there and what lead to this?
Someone entered a few of my works for a competition called ‘Artists Wanted’. If one were to
receive more than 777 “likes” one progress to the next round. In a few weeks my site –
28
http://monkagain.artistswanted.org/atts2012 – received more than a 1000 visits and the
necessary number of ‘likes’. The work of the winner will be shown on the gigantic billboard
at Times Square, New York. I am now through to the final round and my work, with the work
of other finalists will be shown at a VIP party on bright LED screens (9 ft x 12 ft) located on
Broadway and 43rd Street. The Times Square Billboard Premier Event will consist of a
number of famous US singers and groups.
I will also be visiting two museums who wish to acquire my work.
What are you currently working on?
Like, every day – putting the last series behind me, and feeling my way, completely openminded, into the beginning of another series. Until I begin another series, I am a bundle of
dynamite fuse that has been lit, and that must find some way to explode – like racehorse
permanently at the beginning of a race.
29
What advice would you give young creatives looking to do what you do?
It is a very, very lonely road, do not do it for any external rewards. I do not
mean students who attend Art School with the purpose to obtain a degree, so as
to get work, but those few who realize that they must work in some area of art,
they have almost no choice in the matter – it is as if one is driven on. This is
30
both a curse and the greatest joy – to end up in the middle of creating something
that did not exist before, a new vision of the world, always nearer to the art, the
heart of Creation, the act of creating, but never close enough, yet. Because,
when one has finished, one must start all over again. In other words: be
prepared for work, endless work, and always questioning what you have done
and what you are doing. It is something very mundane, totally concrete, and
forget about glory, fame and other rewards – those things are short lived and
pass quickly.
Where can our readers follow your work?
I mostly place my work on online galleries, as that requires little time. I no
longer have time or an interest in spending a lot of time to organize an
exhibition, and online galleries reach the entire planet instantly –
My work can be seen here:
www.newstylesgallery.info
www.gallerygoodman.com
and
http://www.artmajeur.com/?go=pages/top/list_artists_top100
There are more than 55,200 artists on the above site and for some reaching I am
mostly number one in popularity, and daily receive between 1000 – 3000
visitors.
Find me on FACEBOOK and TWITTER
A few people have recently made videos of some of my work for YOU TUBE –
http://www.youtube.com/watch?v=xD7tC8Hmjpk
http://www.youtube.com/watch?v=-Hfo1UsSL58
http://www.youtube.com/watch?v=yW7b72aRj94
Artists WantedBraquePicassoTimes Square Billboard PremierUlrich de Balbian
31
6
https://web.facebook.com/metaarc/
Meta-Art Research Center
Published by Jensen Ulrich de Balbian · 1 hr ·
https://ulrichdebalbian.wordpress.com/…/my-art-makes-the-i…/
My art makes the invisible visible
That what cannot be said might be shown . Ludwig Wittgenstein (philosopher,
mathematician). My art makes visible that what is invisible. That what might be
(verbally) ineffable might be shown (reve…
Meta-Art Research Center
Published by Jensen Ulrich de Balbian · Yesterday at 7:48am ·
https://ulrichdebalbian.wordpress.com/…/what-makes-a-paint…/
what makes a painting a masterpiece?
Rembrandt’s perfect drawing, Caravaggio’s invention of Hollywood lighting,
Monet capturing a moment in time. David Hockney and critic Martin Gayford
discuss the craft behind the greatest art Rembra…
ulrichdebalbian.wordpress.com
77 people reached
32
Meta-Art Research Center
Published by Jensen Ulrich de Balbian · September 25 at 8:40am ·
http://ulrichdb.blogspot.co.za/…/ulrich-de-balbian-21st-cen…
Meta-Art Research Center
Published by Jensen Ulrich de Balbian · September 23 at 7:22am ·
https://www.linkedin.com/…/process-artexplore-world-outside…
Process is art.....explore a world outside of everyone’s comfort zone
13. Process is art. Read Raymond Carver’s original short story for “What We
Talk About When We Talk About Love”, his most famous short story.
linkedin.com
Meta-Art Research Center
Published by Jensen Ulrich de Balbian · September 18 at 10:05am ·
https://www.linkedin.com/…/doescan-anyone-share-aesthetic-p…
https://www.linkedin.com/…/doescan-anyone-share-aesthetic-p…
33
Does/can anyone share the aesthetic perception underlying any visual art work
Meta-Art Research Center
7
https://web.facebook.com/metaphilosophyMPRC/
osts
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
... See More
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
34
academia.edu
Write a comment...
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
... See More
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
academia.edu
35
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
academia.edu
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
36
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
academia.edu
Jensen Ulrich de Balbian
LikeShow more reactions
37
CommentShare
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
academia.edu
Jensen Ulrich de Balbian
LikeShow more reactions
CommentShare
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
38
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
academia.edu
Jensen Ulrich de Balbian
LikeShow more reactions
Meta-Philosophy Research Center My latest book number 65 for FREE
download at Academia. Edu where I am in the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experime...See More
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion…
academia.edu
39
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
Meta-Philosophy Research Center
August 25 ·
My latest book number 65 for FREE download at Academia. Edu where I am in
the top 1%. ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
https://www.academia.edu/…/PHILOSOPHY_PHILO_SOPHOS_LOVE_OF_
…
PHILOSOPHY = PHILO SOPHOS = LOVE OF WISDOM
40
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with
Meta-Philosophy Research Center
August 15 ·
https://www.academia.edu/342…/KNOWLEDGE_TRUTH_INSIGHT_WISDO
M
An exploration of the umbrella notion 'knowledge' and related notions, truth,
wisdom, knowing, insights, understanding, perception, etc. The philosophical
approach, such as that of Gettier, to this notion.
KNOWLEDGE, TRUTH, INSIGHT, WISDOM
An exploration of the umbrella-concept of knowledge and related notions.
academia.edu
Jensen Ulrich de Balbian
https://www.academia.edu/.../PHILOSOPHY_PHILO_SOPHOS_LOVE...
LikeShow more reactions
ABSTRACT
A conceptual exploration of the umbrella notion Wisdom, as well as
dimensions, characteristics and components of the idea of wisdom as suggested
by experimental philosophy, neurosciences and other studies and a comparison
of the notion of wisdom with those of knowledge, truth, insight and
understanding.
41
Meta-Philosophy Research Center
August 15 ·
New Work for FREE download
https://www.academia.edu/342…/KNOWLEDGE_TRUTH_INSIGHT_WISDO
M
KNOWLEDGE, TRUTH, INSIGHT, WISDOM
An exploration of the umbrella-concept of knowledge and related notions.
Meta-Philosophy Research Center shared John Monk's photo.
June 27 ·
https://www.facebook.com/photo.php?fbid=10155194960408556&set=ms.c.eJx
FysENwDAMAsCNKrANMfsvVrWffE9HUCpmy0RLfvgL6ML2Xqn49PieVlr
xuYeZGINPXiTJEf0%7E-.bps.&type=3
Jensen Ulrich de Balbian
https://www.academia.edu/.../KNOWLEDGE_TRUTH_INSIGHT_WISDOM
An exploration of the umbrella notion 'knowledge' and related notions, truth,
42
wisdom, knowing, insights, understanding, perception, etc. The philosophical
approach, such as that of Gettier, to this notion.
LikeShow more reactions
Meta-Philosophy Research Center shared John Monk's photo.
June 27 ·
https://www.facebook.com/photo.php?fbid=10155201620838556&set=ms.c.eJx
FysENwDAMAsCNKrANMfsvVrWffE9HUCpmy0RLfvgL6ML2Xqn49PieVlr
xuYeZGINPXiTJEf0%7E-.bps.&type=3
8
https://www.academia.edu/32860902/SEEKING_PHILOSOPHY_BY_WORDS
_1_ART_and_META-ART
SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART
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Ulrich De Balbian
Oxford: Academic Publishers (2017)
44
ABSTRACT One increasingly reads about different aspects of the death of philosophy.
One reason or cause being its institutionalization, as just another academic discipline,
while research universities demand their tenured professionals to produve endless
streams of really irrelevant publications, resulting in dealing with more detailed,
i ros opi issues a d fa ri ated pro le s . The professio alizatio of philosophers
created other problems of this socio-cultural practice. The dying out of philosophy is not
only cased by external social and cultural factors, but also by internal factors such as its
methods and those concerning its subject-matter. I have explored the above in the
Abstract context of meta-philosophy. In the process I also investigated the nature, the subjectmatter and theories of philosophy of art, aesthetics and theory of art. It is mostly about
these explorations of art that the contents of this piece is concerned with. All this is an
exercise with words as the verbal means are the traditional instruments of doing
philosophy. These tools not only enable the doing of philosophy but also creates
limitations and limits to philosophizing. This will remain the case until the discourse
develops other (for example visual, auditory, computational, etc) means to develop its
many levelled and multi-dimensional practice - and in the process questions and
overcomes its anthropo-centered bias.
Keywords
aesthetics philosophy of art painting theories of art meta-philosophy cognition postmodern aesthetics post-post-modern aesthetics art institution art research
9
http://www.meta-art.space/
Ulrich de Balbian Paintings. The art school or movement is META-ART, and/or ASEMIC WRITING.
Post-modern, post-minimalist, process painting
A description of META ART (the kind of paintings I specialize in) will follow soon.
Here are links to my articles and books on META-PHILOSOPHY
https://independent.academia.edu/UlrichdeBalbian
The first 26 pages of my new book Meta-Philosophy Part 3
meta-ontology, ontology, epistemology, philosophy of philosophy, philosophical methods and much
more..
here https://www.academia.edu/29929377/META-PHILOSOPHY_PART_3
META-ART
45
Meta-art is the school, the movement, the type of art that I create. It has, of course, a lengthy tradition and
background from the Western tradition of Fine Art and more specifically the genre of painting. The ‘meta’
refers to the fact that it is a consideration of, a thinking about, a reflection on art, or in this case, painting.
The philosophical field I am investigating and writing about is meta-philosophy. I have written a lot about this
area and have included endless sources, discussions, articles, books, references, encyclopaedia articles,
bibliographies, explanations, university courses and much else on the topic of meta-philosophy. To understand
more about the ‘meta’ aspect in general and more specifically the philosophical part see my articles on that idea.
Either on my personal philosophical site :
https://sites.google.com/site/philosophyphilosophizing/home,
or on Academia.edu
https://independent.academia.edu/UlrichdeBalbian
or on Philosophical Papers
http://philpapers.org/profile/342710
https://www.google.com/search?q=Authentic+in+your+art+ulrich+de+balbian&sa=N&biw=1366&bih=589&tb
m=isch&tbo=u&source=univ&ved=0ahUKEwiyld7N4rHQAhXJK8AKHUc2Dq84ChCwBAgY
I reflect on, think about and deal with philosophy in my meta-philosophy articles, as far as my art is concerned, I
became aware that I do not merely paint, that I am not only interested in art and painting as such, but that I
explore these things, that I investigate them and that I reflect on them. Therefore my type of art is meta-art. The
‘art’ part of this notion refers to my practical art work. I realized that it is post-modern, relativizing many things,
being sceptical of most things taken for granted (in this case concerning art and painting) and that my painting is
based upon these notion. Other ideas that are expressed through my art, unintentionally, as I do not intentionally
attempt to create a new school or movement, are ideas such as post-minimalism, the minimalistic aspects of my
work. This concerns the colours I use, the colour combinations, the forms, the composition, the techniques being
employed and much else. Another aspect of my work is a concentration on and a highlighting of the process/es
of painting, in other words process painting.
These then are the notions that will assist in the explanation of meta-art. It is not something cerebral, something
that I try to do, but something that gradually, naturally and automatically developed during the many decades
that I have been painting. Painting for the creative, original, serious artist is not about making ‘nice’ pictures,
nice images, but it is about being authentic and true to oneself. The artist does what he has to do, what he must
do – concerning the colours employed, the paint, techniques, forms and other structures, he does what he must
do at that moment. It is as if he has no choice in the matter, tapping from, expressing and realizing that what
comes from the deepest layers of his consciousness and sub-consciousness.
I have written on this authenticity here
https://www.linkedin.com/today/author/0_2ySTeoi8hXCT9wNuwdiycB?trk=prof-sm among more than 2000
other articles on art.
Painting = 5 Golden Rules | ulrich de balbian | LinkedIn
If you cannot see the article or the images below see this link
46
https://www.linkedin.com/today/author/0_2ySTeoi8hXCT9wNuwdiycB?trk=prof-sm
https://www.linkedin.com/pulse/painting-5-golden-rules-ulrich-de-balbian
Nov 28, 2015 - Painting = FIVE Golden Rules Here are five golden rules for the sociocultural ... (1) The artist is totally, completely and absolutely authentic (and .... Lack of email
etiquette Please tell me people at your work are not sending ...
https://www.linkedin.com/pulse/painting-5-golden-rules-ulrich-de-balbian
Painting =
FIVE
Golden Rules
Here are five golden rules for the socio-cultural practice or the activity of painting when it is
exercised in the Western Tradition of Fine and visual art and
more specifically the genre of painting. These rules concern the artist as a whole, his Self,
constructions of reality, social relationships, values,
norms, attitudes, emotional and intellectual development, beliefs, etc. These are things he will
get in order during his life time, for as Socrates
is alleged to have said, "an unexamined life is not worth living". He will obviously question
himself, his pre-suppositions and assumptions
47
concerning all aspects of existence. It is in this totality of his existence that the subtlety and
complexities of these rules should be interpreted,
understood and individuated by each person.
(1) The artist is totally, completely and absolutely authentic (and increasingly so) in his entire
being and all areas of his existence.
(2) S/he is unintentionally and naturally original and unique in his approach to and
understanding of reality (internal and external realities), the
discourse of art, the socio-cultural practice of Fine or Visual Art and painting.
(3) S/he is naturally and intentionally questioning, reflective and aware of the subtle
problematics of all things, phenomena and situations.
(4) A work of art makes one, clear statement.
(5) The real aim of a work of art is to be, subconsciously so, an emotional punch, a KO
through and as 'feeling'.
1) He should learn to be authentic in all areas of his existence, he must endlessly question and
examine himself, his Self, and entire existence. With
this refined and highly developed skills of self-examination, that have become second nature
to him and/or be applied sub-consciously all the time,
he should approach his artist reality. This exercise will assist him to become increasingly
truthful to himself, both in his entire existence and all
aspects of his being and obviously in his artistic practices.
48
2) He will increasingly become unique in all areas of his existence and obviously in his
original artistic work. This most definitely does not mean that
he will use or abuse art to shock, merely attempting to attract attention and become
in/famous. For an artist to be original it is essential that he explores
and develops many aspects of the discourse and processes of painting, for example
techniques, different media, supports and the structural or formal
aspects of painting (such as color, composition, form, etc.)
49
3) His painting and his attitude towards painting will reveal that he, similar to creative
thinking and questioning individuals in all socio-cultural
50
practices and specialized discourses (for example, philosophy, natural and social sciences,
visual and performance arts, mathematics, theology,
composition of music, etc) and all areas of daily existence (for example parenting, work,
leisure, relationships, beliefs, etc), investigates and
explores phenomena and do not merely accept them on face-value, or the way they are
constructed, perceived and understood by his time and
place - his culture and sub-culture, class, age group, personality-type and other sociocultural, psychological, biological and human factors. In
other words he will be experimental, explorative and questioning and able to interpret and
translate everything as problems, by systematic, logical
and controlled problematization or problematizing. He will continually and constantly have a
reflective, questioning and open frame of mind and
reference towards all aspects of existence and his own artistic practices. He would deal in
depth with the formal and structural aspects of his work
(and all aspects of his existence, for example the re/construction of his external environments
as well as his inner worlds) be it in painting itself
(for example the exploration of certain aspects of painting by working in series), drawing,
installations, performance, photography, videos and
other new media.
51
4) Every single one of his paintings will make one, clear statement. This point and the next
point (5) are really the different sides of the same coin. In fact
all 5 points are merely different perspectives on or views of the 'same' object, for example
perceiving a house (and architectural plans of it) from the front,
the top and the different sides.
52
5) All socio-cultural, personal, structural and formal aspects concerning a painting will work
together in unity, or disunity (some aspects of the work might
be 'slightly off' and intentionally so) with the single purpose and sole aim to convey an
'emotional or feeling-based' punch or KO. This, is the real aim and
overriding purpose of every work of art - the pre-conceptual,(conceptually) ineffable,
emotional, feeling expression or 'message' it conveys, expresses and
communicates.
53
In my case to be true to myself, to be authentic in my existence and all things I do, including specialized sociocultural practices such as philosophy, art, theology etc implies that I do and must create in a meta- or reflective
manner. That I must think about and carefully consider in a philosophical manner what I do, how I do it and
54
why I do it. Therefore when I do philosophy, I do meta-philosophy, when I am involved in art or painting, I
create meta-art, etc.
ULRICH DE BALBIAN META ART
10
https://philpapers.org/rec/DEBWIA-2
Philosophy and Art (2017)
Abstract
WHAT is art? Classificatory disputes.. Classificatory disputes about what is art
SEE this link for the images embeded in the text!!
https://ulrichdebalbian.wordpress.com/2015/05/09/classificatory-disputes-aboutwhat-is-art/ Art historians and philosophers of art have long had classificatory
disputes about art regarding whether a particular cultural form or piece of work
should be classified as art. Disputes about what does and does not count as art
continue to occur today Defining art is difficult if not impossible. Aestheticians
and art philosophers often engage in disputes about how to define art. By its
original and broadest definition, art (from the Latin ars, meaning “skill” or
“craft”) is the product or process of the effective application of a body of
knowledge, most often using a set of skills; this meaning is preserved in such
phrases as “liberal arts” and “martial arts”. However, in the modern use of the
word, which rose to prominence after 1750, “art” is commonly understood to be
skill used to produce an aesthetic result (Hatcher, 1999).
Keywords
art art classification visual art philosophy of art aesthetics aesthetic
judgement contemporary art art media
Aesthetic Qualities, Misc in Aesthetics
Intention and Interpretation in Aesthetics
Categories
Painting and Drawing in Aesthetics
Philosophy of Visual Art, Misc in Aesthetics
Topics in Aesthetics in Aesthetics
(categorize this paper)
11
https://www.linkedin.com/pulse/free-books-art-philosophy-etc-ulrich-debalbian/
https://www.academia.edu/29931125/Metaart_thinking_about_art_praxis_reflecting_on_art_practice
55
https://www.academia.edu/28787744/Making_the_invisible_what_cannot_be_s
aid_verbally_viusually_etc_visible
https://philpapers.org/rec/DEBSPB
ABSTRACT One increasingly reads about different aspects of the death of
philosophy. One reason or cause being its institutionalization, as just another
academic discipline, while research universities demand their tenured
professionals to produve endless streams of really irrelevant publications,
resulting in dealing with more detailed, microscopic issues and fabricated
‘problems’. The professionalization of philosophers created other problems of
this socio-cultural practice. The dying out of philosophy is not only cased by
external social and cultural factors, but also by internal factors such as its
methods and those concerning its subject-matter. I have explored the above in the
context of meta-philosophy. In the process I also investigated the nature, the
subject-matter and theories of philosophy of art, aesthetics and theory of art. It is
mostly about these explorations of art that the contents of this piece is concerned
with. All this is an exercise with words as the verbal means are the traditional
instruments of doing philosophy. These tools not only enable the doing of
philosophy but also creates limitations and limits to philosophizing. This will
remain the case until the discourse develops other (for example visual, auditory,
computational, etc) means to develop its many levelled and multi-dimensional
practice - and in the process questions and overcomes its anthropo-centered bias.
aesthetics philosophy of art painting theories of art metaKeywords philosophy cognition post-modern aesthetics post-post-modern aesthetics art
institution art research
Aesthetic Cognition, Misc in Aesthetics
Aesthetic Universals in Aesthetics
Categories
Aesthetics and Culture, Misc in Aesthetics
Art and Artworks, Misc in Aesthetics
Painting and Drawing in Aesthetics
(categorize this paper)
Meta-art: thinking about art praxis, reflecting on art practice Academic
Publishers
2016-12-13 | book
56
URL: https://www.academia.edu/29931125/Metaart_thinking_about_art_praxis_reflecting
12
Letter to a friend : ON Creative Thinking and Intuition Letter to a friend :
ON Creative Thinking and Intuition
book-chapter
URL:
https://www.academia.edu/31524158/Letter_to_a_friend_ON_Creative_Thinking_an
d_I
https://ulrichdebalbian.wordpress.com/2017/02/20/letter-to-a-friend-oncreative-thinking-intuition-in-art-writing-philosophy/
Letter to a friend on Creative thinking, intuition in art,
writing, philosophy
February 20, 2017 ulrichdebalbian
Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking
and intuition (art, writing, philosophy, science, etc) with my
paintings, https://www.academia.edu/31524158/Letter_to_a_friend_ON_Creative_Thinking
_and_Intuition
Source: Letter to a friend on Creative thinking, intuition in art, writing, philosophy
https://www.linkedin.com/pulse/letter-friend-creative-thinking-intuition-artwriting-de-balbian/
https://philpapers.org/rec/DEBLTA-2
Letter to a friend : Creative Thinking
and Intuition Letter to a friend about
creative thinking and intuition (art,
writing, philosophy, science, etc )
Keywords
57
creative thinking intuition critical
thinking cognitive science meta-cognition meta-
philosophy philosophy of art creativity thinking of
thinking epistemology
Cognitive Sciences, Misc in Cognitive Sciences
Formal Sciences, Misc in Formal Sciences
Categories
Literature in Arts and Humanities
Visual Arts in Arts and Humanities
(categorize this paper)
13
RATIONALITY, CONCEPTUALISM, NEO-REALISM, -IDEALISM
AND –EMPIRICISM
ULRICH DE BALBIAN
META-PHILOSOPHY RESEARCH CENTER
58
PREFACE
I attempt and intend to employ ‘rationality’ as approach to execute the
following explorations. I will have as preliminary notions of this umbrella word,
with numerous meanings and connotations, something like the use of critical,
creative and logical thinking and thinking with and about ideas, concepts,
meanings and conceptual usage.
Rational is, among other things, taken to refer to based on or in accordance with
reason or logic.
"I'm sure there's a perfectly rational explanation"
logical, reasoned, sensible, reasonable, cogent, intelligent, judicious, shrewd,
common-sense, commonsensical, sound, prudent.
logical, reasoned, sensible, reasonable, cogent, intelligent, judicious,
shrewd, common-sense, commonsensical, sound, prudent;
synonyms:
down-to-earth, practical, pragmatic
synonyms:
"a rational approach".
59
Rationality is taken to mean something like - .
the quality of being based on or in accordance with reason or logic.
"like any phobia, rationality plays only a small role"
But, as soon as the words rational/ity is mentioned other related words need to
be mentioned and explored for example reason/ing. Reason is the capacity for
consciously making sense of things, applying logic, establishing and verifying facts, and changing or
justifying practices, institutions, and beliefs based on new or existing information.[1] It is closely
associated with such characteristically human activities as philosophy, science, language,
mathematics, and art and is normally considered to be a definitive characteristic of human nature.[2]
Reason, or an aspect of it, is sometimes referred to as rationality.
As I wish to steer clear of referring to and talk about organs, capacities,
activities, functions, things and phenomena such as those related to the notion of
mind (The mind is a set of cognitive faculties including consciousness, perception, thinking,
judgement, and memory.[non-primary source needed] It is usually defined as the faculty of an entity's thoughts
and consciousness.[3] It holds the power of imagination, recognition, and appreciation, and is
I
concentrate on the conceptual aspect or dimension of these words. It is because
of this restriction that I emphasize that rational and rationality have to do with
concepts, conceptual thinking and talk about something.
responsible for processing feelings and emotions, resulting in attitudes and actions)
Apart from the function of usage and meaning referred to by the notion of
conceptual, another function of it is that it constitutes restrictions and limits to
human ‘consciousness, mind, perception and thinking’.
In the title I employ the following notions: neo-realism, -idealism and neoempiricism. The intention of the ‘neo-‘ prefix is to interpret these notions and
their connotations as being conceptual(ly interpreted) realism, idealism and
empiricism.
60
RATIONALITY
Rational is, among other things, taken to refer to based on or in accordance with
reason or logic.
"I'm sure there's a perfectly rational explanation"
logical, reasoned, sensible, reasonable, cogent, intelligent, judicious, shrewd,
common-sense, commonsensical, sound, prudent.
logical, reasoned, sensible, reasonable, cogent, intelligent, judicious,
shrewd, common-sense, commonsensical, sound, prudent;
synonyms: down-to-earth, practical, pragmatic
"a rational approach".
synonyms:
Rationality is taken to mean something like - .
the quality of being based on or in accordance with reason or logic.
"like any phobia, rationality plays only a small role"
Rationality | Definition of Rationality by Merriam-Webster
https://www.merriam-webster.com/dictionary/rationality
1 : the quality or state of being rational. 2 : the quality or state of being agreeable to reason :
reasonableness.
Rational | Definition of Rational by Merriam-Webster
https://www.merriam-webster.com/dictionary/rational
Definition of rational. 1a : having reason or understandingb : relating to, based on, or
agreeable to reason : reasonable a rational explanation rational behavior.
61
Rationality - Wikipedia
https://en.wikipedia.org/wiki/Rationality
Rationality is the quality or state of being reasonable, based on facts or reason. Rationality ....
Richard Brandt proposed a "reforming definition" of rationality, arguing someone is rational
if their notions survive a form of cognitive-psychotherapy.
Rationality is the quality or state of being reasonable, based on facts or reason.[1][not in citation
Rationality implies the conformity of one's beliefs with one's reasons to believe, or of
one's actions with one's reasons for action. "Rationality" has different specialized meanings in
philosophy,[2] economics, sociology, psychology, evolutionary biology, and political science.
given]
To determine what behavior is the most rational, one needs to make several key assumptions,
and also needs a quantifiable formulation[dubious – discuss] of the problem. When the goal or
problem involves making a decision, rationality factors in how much information is available
(e.g. complete or incomplete knowledge). Collectively, the formulation and background
assumptions are the model within which rationality applies. Illustrating the relativity of
rationality: if one accepts a model in which benefitting oneself is optimal, then rationality is
equated with behavior that is self-interested to the point of being selfish; whereas if one
accepts a model in which benefiting the group is optimal, then purely selfish behavior is
deemed irrational. It is thus meaningless to assert rationality without also specifying the
background model assumptions describing how the problem is framed and formulated.
Richard Brandt
Richard Brandt proposed a "reforming definition" of rationality, arguing someone is rational
if their notions survive a form of cognitive-psychotherapy.[9]
Quality
Abulof argues that rationality has become an "essentially contested concept," as its "proper
use… inevitably involves endless disputes." He identifies "four fronts" for the disputes about
the meaning of rationality:
1. The purpose, or function, of ascribing rationality: Is it descriptive/explanatory, prescriptive
or subjunctive (rationality "as if" real)?
2. The subject of rationality: What, or who, is rational: the choice, the act, or the choosing
actor?
3. Cognition: What is the quality of the cognitive decision-making process: minimal (calculative
intentionality) or optimal (expected-utility)?
4. Rationale: Is rationality merely instrumental, that is, agnostic about the logic of human
action and its motivations (instrumental rationality) or does it substantially inform them
(substantive rationality, focusing on material maximization)?[10]
It is believed by some philosophers (notably A. C. Grayling) that a good rationale must be
independent of emotions, personal feelings or any kind of instincts. Any process of
evaluation or analysis, that may be called rational, is expected to be highly objective, logical
and "mechanical". If these minimum requirements are not satisfied i.e. if a person has been,
62
even slightly, influenced by personal emotions, feelings, instincts, or culturally specific moral
codes and norms, then the analysis may be termed irrational, due to the injection of subjective
bias.
Modern cognitive science and neuroscience show that studying the role of emotion in mental
function (including topics ranging from flashes of scientific insight to making future plans),
that no human has ever satisfied this criterion, except perhaps a person with no affective
feelings, for example an individual with a massively damaged amygdala or severe
psychopathy. Thus, such an idealized form of rationality is best exemplified by computers,
and not people. However, scholars may productively appeal to the idealization as a point of
reference.[citation needed]
Theoretical and practical
Kant had distinguished theoretical from practical reason. Rationality theorist Jesús Mosterín
makes a parallel distinction between theoretical and practical rationality, although, according
to him, reason and rationality are not the same: reason would be a psychological faculty,
whereas rationality is an optimizing strategy.[11] Humans are not rational by definition, but
they can think and behave rationally or not, depending on whether they apply, explicitly or
implicitly, the strategy of theoretical and practical rationality to the thoughts they accept and
to the actions they perform.
The distinction is also described as that between epistemic rationality, the attempt to form
beliefs in an unbiased manner, and instrumental rationality.
Theoretical rationality has a formal component that reduces to logical consistency and a
material component that reduces to empirical support, relying on our inborn mechanisms of
signal detection and interpretation. Mosterín distinguishes between involuntary and implicit
belief, on the one hand, and voluntary and explicit acceptance, on the other.[12] Theoretical
rationality can more properly be said to regulate our acceptances than our beliefs. Practical
rationality is the strategy for living one’s best possible life, achieving your most important
goals and your own preferences in as far as possible.
Examples in different fields
Logic
Main article: Logic and rationality
As the study of arguments that are correct in virtue of their form, logic is of fundamental
importance in the study of rationality. The study of rationality in logic is more concerned
with epistemic rationality, that is, attaining beliefs in a rational manner, than instrumental
rationality.
Economics
Rationality plays a key role and there are several strands to this.[13] Firstly, there is the
concept of instrumentality—basically the idea that people and organisations are
instrumentally rational—that is, adopt the best actions to achieve their goals. Secondly, there
63
is an axiomatic concept that rationality is a matter of being logically consistent within your
preferences and beliefs. Thirdly, people have focused on accuracy of beliefs and full use of
information—in this view a person who is not rational has beliefs that don't fully use the
information they have.
Debates within economic sociology also arise as to whether or not people or organizations are
"really" rational, as well as whether it makes sense to model them as such in formal models.
Some have argued that a kind of bounded rationality makes more sense for such models.
Others think that any kind of rationality along the lines of rational choice theory is a useless
concept for understanding human behavior; the term homo economicus (economic man: the
imaginary man being assumed in economic models who is logically consistent but amoral)
was coined largely in honor of this view. Behavioral economics aims to account for economic
actors as they actually are, allowing for psychological biases, rather than assuming idealized
instrumental rationality.
Artificial intelligence
Within artificial intelligence, a rational agent is typically one that maximizes its expected
utility, given its current knowledge. Utility is the usefulness of the consequences of its
actions. The utility function is arbitrarily defined by the designer, but should be a function of
"performance", which is the directly measurable consequences, such as winning or losing
money. In order to make a safe agent that plays defensively, a nonlinear function of
performance is often desired, so that the reward for winning is lower than the punishment for
losing. An agent might be rational within its own problem area, but finding the rational
decision for arbitrarily complex problems is not practically possible. The rationality of human
thought is a key problem in the psychology of reasoning.[14]
International relations
There is an ongoing debate over the merits of using “rationality” in the study of international
relations (IR). Some scholars hold it indispensable.[15] Others are more critical.[16] Still, the
pervasive and persistent usage of "rationality" in political science and IR is beyond dispute.
"Rationality" remains ubiquitous in this field. Abulof finds that Some 40% of all scholarly
references to "foreign policy" allude to "rationality"—and this ratio goes up to more than half
of pertinent academic publications in the 2000s. He further argues that when it comes to
concrete security and foreign policies, IR employment of rationality borders on
"malpractice": rationality-based descriptions are largely either false or unfalsifiable; many
observers fail to explicate the meaning of "rationality" they employ; and the concept is
frequently used politically to distinguish between "us and them."[10]
See also
64
Thinking portal
Cognitive bias
Coherence (linguistics)
Counterintuitive
Dysrationalia
Flipism
Imputation (game theory) (individual rationality)
Instinct
Intelligence
Irrationality
Law of thought
LessWrong
List of cognitive biases
Perfect rationality
Principle of rationality
Rational emotive behavior therapy
Rational pricing
Rationalism
Rationalization (making excuses)
Satisficing
Superrationality
Von Neumann–Morgenstern utility theorem
Theories · Quality · Theoretical and practical · Examples in different fields
What is rationality? definition and meaning - BusinessDictionary.com
www.businessdictionary.com/definition/rationality.html
Definition of rationality: Mental state of a rational person characterized by (1) beliefs that are
coherent (not contradictory) and compatible with the person's ..
But, as soon as the words rational/ity is mentioned other related words need to
be mentioned and explored for example reason/ing.
Reason is the capacity for consciously making sense of things, applying logic, establishing
and verifying facts, and changing or justifying practices, institutions, and beliefs based on
new or existing information.[1] It is closely associated with such characteristically human
activities as philosophy, science, language, mathematics, and art and is normally considered
to be a definitive characteristic of human nature.[2] Reason, or an aspect of it, is sometimes
referred to as rationality.
Reasoning is associated with thinking, cognition, and intellect. Reasoning may be subdivided
into forms of logical reasoning (forms associated with the strict sense): deductive reasoning,
inductive reasoning, abductive reasoning; and other modes of reasoning considered more
informal, such as intuitive reasoning and verbal reasoning. Along these lines, a distinction is
often drawn between discursive reason, reason proper, and intuitive reason,[3] in which the
reasoning process—however valid—tends toward the personal and the opaque. Although in
many social and political settings logical and intuitive modes of reason may clash, in other
contexts intuition and formal reason are seen as complementary, rather than adversarial as,
for example, in mathematics, where intuition is often a necessary building block in the
creative process of achieving the hardest form of reason, a formal proof.
65
Reason, like habit or intuition, is one of the ways by which thinking comes from one idea to a
related idea. For example, it is the means by which rational beings understand themselves to
think about cause and effect, truth and falsehood, and what is good or bad. It is also closely
identified with the ability to self-consciously change beliefs, attitudes, traditions, and
institutions, and therefore with the capacity for freedom and self-determination.[4]
In contrast to reason as an abstract noun, a reason is a consideration which explains or
justifies some event, phenomenon, or behavior.[5] The field of logic studies ways in which
human beings reason formally through argument.[6]
Psychologists and cognitive scientists have attempted to study and explain how people
reason, e.g. which cognitive and neural processes are engaged, and how cultural factors affect
the inferences that people draw. The field of automated reasoning studies how reasoning may
or may not be modeled computationally. Animal psychology considers the question of
whether animals other than humans can reason.
Contents
1 Etymology and related words
2 Philosophical history
2.1 Classical philosophy
2.2 Subject-centred reason in early modern philosophy
2.3 Substantive and formal reason
2.4 The critique of reason
3 Reason compared to related concepts
3.1 Compared to logic
3.2 Reason compared to cause-and-effect thinking, and symbolic thinking
3.3 Reason, imagination, mimesis, and memory
3.4 Logical reasoning methods and argumentation
o 3.4.1 Deductive reasoning
o 3.4.2 Inductive reasoning
o 3.4.3 Abductive reasoning
o 3.4.4 Analogical reasoning
o 3.4.5 Fallacious reasoning
4 Traditional problems raised concerning reason
4.1 Reason versus truth, and "first principles"
4.2 Reason versus emotion or passion
4.3 Reason versus faith or tradition
5 Reason in particular fields of study
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5.1 Reason in political philosophy and ethics
5.2 Psychology
o 5.2.1 Behavioral experiments on human reasoning
o 5.2.2 Developmental studies of children's reasoning
o 5.2.3 Neuroscience of reasoning
5.3 Computer science
o 5.3.1 Automated reasoning
o 5.3.2 Meta-reasoning
5.4 Evolution of reason
I concentrate on the conceptual aspect or dimension of these words. It is
because of this restriction that I emphasize that rational and rationality have to
do with concepts, conceptual thinking and talk about something.
Apart from the function of usage and meaning referred to by the notion of
conceptual, another function of it is that it constitutes restrictions and limits to
human ‘consciousness, mind, perception and thinking’.
In the title I employ the following notions: neo-realism, -idealism and neoempiricism. The intention of the ‘neo-‘ prefix is to interpret these notions and
their connotations as being conceptual(ly interpreted) realism, idealism and
empiricism.
Realism (in philosophy) about a given object is the view that this object exists in reality
independently of our conceptual scheme. In philosophical terms, these objects are
ontologically independent of someone's conceptual scheme, perceptions, linguistic practices,
beliefs, etc.
Realism can be applied to many philosophically interesting objects and phenomena: other
minds, the past or the future, universals, mathematical entities (such as natural numbers),
moral categories, the physical world, and thought.
Realism can also be a view about the nature of reality in general, where it claims that the
world exists independent of the mind, as opposed to anti-realist views (like some forms of
skepticism and solipsism, which deny the existence of a mind-independent world).
Philosophers who profess realism often claim that truth consists in a correspondence between
cognitive representations and reality.[1]
Realists tend to believe that whatever we believe now is only an approximation of reality but
that the accuracy and fullness of understanding can be improved.[2] In some contexts, realism
is contrasted with idealism. Today it is more usually contrasted with anti-realism, for
example in the philosophy of science.
Contents
67
1 History
o 1.1 Platonic realism
o 1.2 Medieval realism
o 1.3 The Scottish School of Common Sense Realism
2 Realism in Contemporary Analytic Philosophy
o 2.1 Naïve realism
o 2.2 Scientific realism
o 2.3 Realism in physics
o 2.4 Aesthetic realism
3 See also
4 Notes
5 References
6 External links
Realism, Realistic, or Realists may refer to:
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Philosophical realism, belief that reality exists independently of observers
o Hermeneutic realism, in philosophy (Heidegger)
o Internal realism, in philosophy (Putnam)
o "Local realism", a term used by Einstein in the context of the Principle of locality
o Logical realism, the conviction the rules of logic are mind-independent
o Model-dependent realism, in the philosophy of science
o Scotistic realism
o Speculative realism, in philosophy
o Structural realism, in philosophy
o Transcendental realism, in philosophy
o Agential realism, in philosophy
Pragmatism
o Pragmatic ethics, in the terminology of Charles Sanders Peirce ("Peircean realism")
o Ethnographic realism, a writing style that narrates the author's anthropological
observations as if they were first-hand
o Legal realism, a jurisprudence emphasizing the substantive subo contemporary life
and society as it exists or existed
o Structural realism, in international relations
o Realism (international relations), the view that world politics is driven by
competitive self-interest
Realism (arts), the general attempt to depict subjects truthfully
o Realism (art movement), 19th-century painting group
o Literary realism, a movement from the mid 19th to the early 20th century
o Vienna School of Fantastic Realism, art movement
o Theatrical realism, one of the many types of theatre such as Naturalism
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Ulrich de Balbian