Little research has been published that is specifically relevant to professional social work ethics in Kenya. This paper seeks to address this gap in the literature. One of the major challenges is maintaining professional social work ethics, which are predominantly Western-based, in an African cultural context. This paper argues for an Afrocentric approach, specifically proposing Ubuntu as a helpful concept that could guide the development of professional social work ethics that are relevant to African contexts. The Kenyan context is documented, (...) including the challenges faced in social work education and practice in Kenya. While the paper is primarily theoretical, the overall argument is informed by 15 two teaching cases, one of which highlights the ethical challenges experienced by social workers in Kenya, the other demonstrating creative engagement with cultural traditions and practices. It is concluded that: the concept of Afrocentricity supports a move beyond knowledge accumulation to knowledge-informed action as part of ethics for social workers; more social work-led research in Kenyan and other African contexts is desirable, but if international knowledge can be made relevant to the needs and cultures of African people this may also be useful. (shrink)

Can failure be aesthetic or artistic? How can failure be described as an aesthetic phenomenon or as a work of art? Starting from a concept of aesthetic experience and presence this paper seeks answers to said question in four steps. After defining the event ›failure‹ (I), its aesthetic potential is determined (II), and distinguished from failure as art and the artfulness of failure (III). Finally, the significance of the aesthetic experience of failure for its existential understanding is examined (IV).

Qushayrī, ʻAbd al-Karīm ibn Hawāzin, 986-1072; views on; ethics; soul; Islam.

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism (...) and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

بالحرف نفهم الوجود، ونكتشفُ مُعَمَّيَاتِه وملابساته.فالوجود حرف، والحرف وجود، فهما معا يتماهيان، وهما معا يتبادلان الأدوار في مرآة الحياة والذاكرة والدين والأسطورة و المخيال، وفي فضاء الترميز بالقوة القَوَوِيَّةِ والتجريد المتعالي. وإذا كانت حبة الرمل تختزن الصحراء وتؤشر عليها، وقطرةُ الماء تختزل البحرَ وتومئ إليه، ونبضةُ العِطر تحوز الأزهارَ وتدل عليها، فإن الحرف هو كذلك يمثِّل كثافة الوجود في أعالي أعاليها، فهو الشجرة الرامزة إليه أونطولوجيا. إذْ من هذه الشجرة خرج الأمر الإلهي، فصار كونا ووجودا هو عبارة عن شجرة الكون (...) التي يُجَسِّد كل جزء من أجزائها حرَكِيَّةَ الوجود، وتوهجَ اختلافاته، وتناغمَ إيقاعاته، وتشابكَ دلالاته. إن الوجود حرف لا تكون الكتابة إلا به، والخلْق كتابة، والكتابة غرْسٌ، والغرس نفْسٌ، والنفْس وجود.وهكذا تبتدئ دائرة الوجود بالحرف وتنتهي به وإليه، فخلْقُ آدم وتركيبُه له دلالة على هذا المَنْحَى، فهو وسلالته يشبهان رمزيا في حياتهما حروفَ الأبجدية في بدايتها ونهايتها، فهما يدخلان إلى هذه الحياة على شكل ألِفٍ، ويخرجان منها على شكل ياءٍ.فالعِلم بالأسماء موضوع في قلب آدم، وتصْويرُها في صدره، وتعبيرها فيما بين حلْقه إلى شفتيه، فالقلبُ طَرَفٌ للعلْم، والصدر طَرَفٌ للتصاوير، والفم طَرَفٌ للتعبير. فالعالمُ في أول ظهورٍ له كان على صورة الإنسان، وصورة الإنسان هي صورة الحق. فصورتُه التي على صورة الحق تُؤَهِّلُه لمعرفة الحق من خلال معرفته لذاته الإنسانية. (shrink)

Islamic education; Islamic ethics; security education; culture conflict; influences; families; Saudi Arabia; intellectual life; 20th century.

El texto es un manifiesto de las autoridades tradicionales U'wa Werjain Shita, en las que reafirman sus principios y convicciones, y denuncian las malas prácticas y mala conciencia del hombre blanco. Afirman su decisión de defender su Tierra, y proclaman que con cada especie que desaparece y con cada pueblo originario que se extingue, la comunidad humana se empequeñece.

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)