This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted (...) fantasy, and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

Autobiography and phenomenology: Preface for Germans (1934).--Phenomenology and theory of knowledge: Sensation, construction, and intuition (1913). On the concept of sensation (1913). Consciousness, the object, and its three distances (1916).--Phenomenology and esthetics: An essay in esthetics by way of a preface (1914). Esthetics on the streetcar (1916).--An esthetics of historical reason: The idea of theater: an abbreviated view (1946). Reviving the paintings (Velázquez, chapter I) (1946).

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

This book develops the interplay between phenomenology as a historical movement and as a descriptive method within Continental philosophy and the arts.

This book develops the interplay between phenomenology as a historical movement and as a descriptive method within Continental philosophy and the arts.

Painting as an art: Wollheim and the subjective dimension -- Abstract art and transperceptual space: Wolheim, and beyond -- Truth in art: Heidegger against contextualism -- Space, place, and sculpture: Heidegger's pathways -- Vision in being: Merleau-Ponty and the depths of painting -- Subjectivity, the gaze, and the picture: developing Lacan -- Dimensions in time: Dufrenne's phenomenology of pictorial art -- Conclusion: a preface to post-analytic phenomenology.

and the one in the middle which judges as he enjoys and enjoys as he judges. This latter kind really reproduces the work of art anew. The division of our Symposium into three sections is justified by the fact that phenomenology, from Husserl, Heidegger, Moritz Geiger, Ingarden, in Germany and Poland, Merleau-Ponty, Paul Ricoeur, E. Levinas in France, Unamuno in Spain, and Tymieniecka, in the United States, have revealed striking coincidences in trying to answer the following questions: What is (...) the philosophical vocation of literature? Does literature have any significance for our lives? Why does the lyric moment, present in all creative endeavors, in myth, dance, plastic art, ritual, poetry, lift the human life to a higher and authentically human level of the existential experience of man? Our investigations answer our fundamental inquiry: What makes a literary work a work of art? What makes a literary work a literary work, if not aesthetic enjoyment? As much as the formation of an aesthetic language culminates in artistic creation, the formation of a philosophical language lives within the orbit of creative imagination. (shrink)

In drawing upon the work of Jacques Derrida, Edmund Husserl and Martin Heidegger and aligning it with a new trend in interdisciplinary phenomenology, Ian Andrews provides a unique and refreshing book. His account of how the composer John Cage and other avant-garde creatives such as Marcel Duchamp, Tristan Tzara, Sol LeWitt and Ed Ruscha used chance in their work to question the structures of experience and prompt a new engagement with these phenomena makes a truly important contribution to Continental (...) philosophy. (shrink)

​This book investigates the nature of aesthetic experience and aesthetic objects. Written by leading philosophers, psychologists, literary scholars and semioticians, the book addresses two intertwined issues. The first is related to the phenomenology of aesthetic experience: The understanding of how human beings respond to artworks, how we process linguistic or visual information, and what properties in artworks trigger aesthetic experiences. The examination of the properties of aesthetic experience reveals essential aspects of our perceptual, cognitive, and semiotic capacities. The second (...) issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a particular kind of experience. The research question explored is: What properties in artful objects trigger this type of experience, and what characterizes representation in written and visual artworks? The volume sets the scene for state-of-the-art inquiries in the intersection between the psychology and ontology of art. The investigations of the relation between the properties of artworks and the characteristics of aesthetic experience increase our insight into what art is. In addition, they shed light on essential properties of human meaning-making in general. (shrink)

This paper explores the dialogue between Collingwood and Guido de Ruggiero on art and art criticism. The sense of identity of these two activities, it will be argued, can be understood only if one considers the criticism of living art: The art of one who also creates, who through a critical process transforms an outline into a work of art. Thus understood a work of art belongs to the life of the spirit, if considered from the dimension of becoming. Only (...) by reliving the past can it be transformed, yet this requires an understanding of the map of human experience. This is what constitutes specular phenomenology, a phenomenology reflected in the mirror of art and scientific analysis. (shrink)

Although the suggestion that Kant offers a significant contribution to Virtue Ethics might be a surprising one, in The Metaphysics of Morals Kant makes virtue central to his ethics. In this paper, I introduce a Merleau-Pontian phenomenological perspective into the ongoing study of the convergence between Kant and Virtue Ethics, and argue that such a perspective promises to illuminate the continuity of Kant’s thought through an emphasis on the implicit structure of moral experience, revealing the insights his perspective contains for (...) establishing an embodied phenomenology of virtue. These two aims are accomplished by exploring Kant’s ‘proto-phenomenological’ descriptions of the weight of the moral law, his implicit ‘existential’ account of human nature, and his notion of the art of navigating the complex moral terrain that involves a certain Spielraum. When thus viewed, Kant’s virtue ethics sketches out a subtle understanding of embodiment and temporality. (shrink)

This piece explicates some chief modes of consciousness in phenomenology in order to show that a very significant challenge of virtuality surfaces both within, as well as outside of, the discipline. This issue is of no small importance today, where the difference between perception and imagination, real and irreal, as well as presence and absence, are all becoming increasingly vague because of new technologies and the intrinsic virtualities involved therein. In this context, the question is: Where does virtuality fit (...) in such a picture? I will argue that phenomenology can start to account for such developments, although much more explicative work will be required in the future. With this in mind, sections two to four will articulate an initial phenomenology of perception, phantasy, and image-consciousness, as found chiefly in works by Husserl and Sartre. Then, section five will question the preceding phenomenological theory through some phenomenological and non-phenomenological thinkers, who all seem to have a concept of virtuality at the heart of their work. Lastly, in the final two sections I will suggest a difference between real and irreal virtualities, and briefly mention some current virtual technologies in order to show that there is a constant and complex interplay between the real, irreal, and the virtual in many of our everyday experiences—an interplay that needs to be investigated much further if we are to make sense of how it is changing how we think and behave. (shrink)

The paper tries to outline the basic ways of applying Husserl’s phenomenology on art. The main focus is on the aesthetic object defined by Husserl's concepts of modifications of positionality and neutrality. The conception is then applied on the conceptual art , which contradicts the idea of aesthetic objects. The paper tries to show, however, that the conceptual art does not cancel phenomenological approach. On the contrary, in interpreting this kind of art phenomenological approach proves very fruitful.

It is tough to relate visual perception or other achievements to physiological processing in the central nervous system. The diagrammatic, algebraic, and verbal pictures of how sights seem to Lehar do not advance understanding of how we manage to see what is in the world. There are well-known conceptual reasons why no such purely introspective approach can be productive.

Phenomenology and the Creative Process explpores the subject of creativity from a vast range of perspectives. While the emphasis is placed on fundamental ideas taken from phenomenological philosophy and its precursors, the book also engages with related issues from the fields of psychology, physics, narrative studies, art, literature, cognitive science and neuroscience. Author Steven L. Bindeman's objective is to employ an analysis of creativity from the dual perspectives of "identity" and "difference," in order to develop a pluralistic and open-ended (...) understanding of the creative process. His central position is that while creativity can and should be studied as a physical, measurable phenomenon, we need to integrate quantitative studies with a phenomenological perspective that enables us to appreciate the distinctive experiential features of creative activities in order to fully appreciate the complex nature of the creative process. Bindeman's approach is important in that it recognizes the value of phenomenological studies without being afraid to draw insights from other fields of inquiry. This book thus offers unique analysis of creative individuals and works, applying insights from phenomenological philosophers to enrich our understanding of the creative processes of great artists, philosophers, and scientists. (shrink)

In Phenomenology of Perception Merleau-Ponty tells us of how the phenomenon unfolds and its unfolding is never complete: there is no total view of being to be had. Being as phenomenon is, because of this, non-objective: it is disclosed, as Heidegger would put it, in proportion to its being concealed. Both Heidegger and Merleau-Ponty suggest, in their different ways, that this obscure counterpart to the disclosed world, forgotten in objective thought and instrumental rationality, is nonetheless shown, made visible, in (...) art. That is to say, paraphrasing Heidegger, that art shows the concealed as concealed. Conceptual art and its 'dematerialisation of the art object' that the art critic Lucy Lippard described during its early days, have not been readily associated with phenomenology, in part because conceptual art practices tended to be, as Lippard noted, 'non-visual'. Nonetheless, if one overlooks the apparent visual bias of Merleau-Ponty's treatment of art, then it becomes clear, as this paper set out to show, that Conceptual art's 'immaterial' or non-objective ontology is peculiarly congruent with the late Merleau-Ponty's account of the intertwining of the visible and the invisible. In particular this paper argued that the relevance to ecophenomonology of conceptual practices such as Richard Long's that consist in walking as medium and method, is not primarily in their thematising of nature or the body, but rather in their own ontological structure as open-ended and non-objective projects as opposed to their being directly perceptible objects. (shrink)

Introduction. Flesh and its reversibility ; Defining the baroque ; 'Good looking' ; A cinema of baroque flesh -- 1. Flesh, cinema and the baroque : the aesthetics of reversibility. Baroque vision and painting the flesh ; Baroque flesh ; Analogous embodiments : the film's body ; Baroque vision and cinema ; Summation : face to face-feeling baroque deixis -- 2. Knots of sensation : co-extensive space and a cinema of the passions. Synaesthesia, phenomenology, and the senses ; Cinesthesia (...) and the Bel composto ; A passionate baroque : emotion, excess, and co-extensive space ; Assault and absorption : cruel baroque ; Summation : beside oneself -- 3. Baroque skin/semiotics. Chiasm : language and experience ; Baroque poetic language and the seventeenth-century infinite ; Baroque luxury ; Skin-deep : baroque texturology ; Tickles : baroque wit ; Summation : cine-mimesis -- 4. One hand films the other : baroque haptics. Touching-touched ; Haptic visuality and the baroque ; Baroque haptics and cinema ; Analogical assemblages : Baroque databases ; Summation: TEXXTURE -- Conclusion : or the baroque 'Beauty of the act'. (shrink)

Radio drama is often considered an incomplete or ‘blind’ artform because it creates worlds through sound alone. The charge of incompleteness, I suggest, rests upon the orthodox empiricist conception of sensation as the receipt of separate modalities of sensory impression. However, alternative theories of sensation are offered by phenomenology and—of particular importance to this study—the restructuring of cognition that takes place in these theories plays a central role in phenomenology's account of artistic expression. The significance of this phenomenological (...) link between cognition and expression is that it can provide the basis for a more positive evaluation of the aesthetics of radio drama. From a phenomenological perspective, the alleged ‘incompleteness’ of sound becomes an -exemplary form of the process whereby material elements in an artwork interact with or beckon towards one another to express a world. In this paper, I (i) show how Merleau-Ponty's ‘invitational’ account of the senses meets the charge of ‘blindness’, (ii) -demonstrate how radio drama employs the aesthetic interactions that, from the theoretical standpoints of Merleau-Ponty and Dufrenne, are definitive of expression in art, and (iii) indicate how some of my claims for the aesthetics of radio drama are supported by recent accounts of metaphor in music. (shrink)

This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...) of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

Through an exploration of the arts, Phenomenology and the Arts traces the relationship between phenomenology qua historical movement and qua descriptive method. Serving as an artistic undertaking, the phenomenological method itself echoes its content when describing artistic matters such as painting, drama, literature, and music. After establishing the thematics and structure of the volume, contributors analyze in rich and groundbreaking ways specifically Kant, Hegel, Husserl, Heidegger, Merleau-Ponty, and Derrida, and works of art, including select jazz composers, the visual (...) arts of Warhol and Klee, and others affect us. The book is of interest to interdisciplinary researchers engaged in the relationship between art and philosophy. (shrink)

The author presents a varied menu of ideas and experiences in many areas - in research, in diagnosis, and in psychotherapy, each using art media with patients of all ages. She integrates art, phenomenology and gestalt psychology, describing specific techniques and findings. Part I of the book lays out the theoretical foundations and the techniques; Part II addresses the formal components used in art therapy - line, shape and colour in their interrelated dynamics and discusses other aspects and modes (...) of symbolic expression found in clients' work. Part III looks at symbolic expression through the scribble, offering a system of classification, diagnostic possibilities and case studies of work with eating disorders. Part IV focuses on art expression for art therapy diagnostics, including a method for qualitative diagnostics, and a first full diagnostic battery for adolescents. Part V is devoted to Holocaust children's art expressions, highlighting the power of art expression in children under ultimate stress, the intensity of their inner experience, and its visualization in the structure of the pictures. The book is for art therapists and advanced students. It can be used as a textbook on phenomenological art therapy; for therapeutically-oriented art teachers, educators and social workers; and for practicing psychotherapists, to see that art is a source of expression demonstrating how a person is. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

Accompanying the resumption of human research with the entheogen , psilocybin, the range of states of consciousness reported during its action, including both nonmystical and mystical forms of experience, is surveyed and defined. The science and art of facilitating mystical experiences is discussed on the basis of research experience. The potential religious import of these states of consciousness is noted in terms of recognizing the reality of the spiritual, in better understanding the biochemistry of revelation, and in exploring the potentially (...) positive contributions that mystical consciousness may effect in psychological treatment. (shrink)

The inheritance of dualism from Plato to Descartes, and since, has impoverished the human relation with nature, the world, other humans, and other species. The division of soul and body, and its counterpart of mind and body, gave us a world from which we believe ourselves to be separate from and superior to other species. This self-othering standpoint has had devastating consequences socially, politically, economically, and ecologically. This essay seeks to identify some resources in the Western tradition in phenomenology (...) and pragmatism that avoid this standpoint and bring them into conversation with some primary insights of Buddhist philosophy: interdependent arising, the not-self, and interbeing. By doing so, it is not only suggested that comparative conversations are not only useful in their own right, but they add dimensions to our experience in the world. Moreover, they offer avenues for living enriched lives in concert with the world without engaging in self-deceptive mental and comforting psychological activities of who and what we really are. (shrink)

The author gets human creativity to bridge phenomenology and metaphysics. He examines closely the poetical principle of Edgar Allan Poe and considers the artwork as a phenomenon appealing to the metaphysical beauty. He also considers the problem of free-dom in phenomenological and metaphysical aspects of creativity. To harmonize the freedom and phenomenology the author offers to differentiate two kinds of intentionality: “intentionality to” and “intentionality from”. The first is reducible to the purposefulness of events and refers to the (...) constitutive function of consciousness, the latter implies the human creativity and freedom as an act of differentiation of phenomenon from its previous limits. The incipient point of the second form of intentionality seems to be a metaphysical object, which is worth considering as an inexhaustible source of the world of phenomena.El autor considera la creatividad humana pare tender un puente entre fenomenología y metafísica. Examina de cerca el principio poético de Edgar Allan Poe y considera la obra de arte como un fenómeno que apela a la belleza metafísica. Considera el problema de la libertad en relación a los aspectos fenomenológicos y metafísicos de la creatividad. Para armonizar la libertad y la fenomenología, el autor propone diferenciar dos tipos de intencionalidad: “intencionalidad a” y “intencionalidad de ”. La primera es reducible a la intencionalidad de los hechos y se refiere a la función constitutiva de la conciencia; la segunda implica la creatividad humana y la libertad como un acto de diferenciación del fenómeno de sus límites anteriores. El punto de partida de la segunda forma de intencionalidad parece ser un objeto metafísico, el cual merece la pena considerar como una inagotable fuente del mundo de los fenómenos. (shrink)

: This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger’s notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its (...) ultimate consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō , where concepts such as ‘‘the place of nothingness’’ and ‘‘pure experience’’ can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores (...) Life to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

This essay analyzes the relation between nothingness and the work of art, where negation appears as a fundamental element of art. Starting at a discussion of the concept of nothingness in existential phenomenology, it points to the limitations of Heidegger's notion of nullity and negation, which spring from the denial of the dimension of consciousness to his Dasein. Although Sartre recovers that dimension in his portrayal of the pour-soi, now the idea of nothingness is not taken to its ultimate (...) consequence, where art would appear as a product of consciousness that is entrenched in nothingness. Only through an enlarged notion of consciousness, one that allows the perception of negative experience as intrinsically related to poiesis, will the work of art appear ontologically grounded in a form of Being that searches for its own contradiction. Such an enlarged notion of consciousness appears in the thought of Japanese philosopher Nishida Kitarō, where concepts such as "the place of nothingness" and "pure experience" can serve as ground to an analysis of the relation between nothingness and the work of art. (shrink)

It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist's work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...) interplay between agent and context, allowing for artist and viewer to relate to the artist's work in similar ways. (shrink)

This volume covers the period between the 1890s and 1930s, a period that witnessed revolutions in the arts and society which set the agenda for the rest of the century. In philosophy, the period saw the birth of analytic philosophy, the development of new programmes and new modes of inquiry, the emergence of phenomenology as a new rigorous science, the birth of Freudian psychoanalysis, and the maturing of the discipline of sociology. This period saw the most influential work of (...) a remarkable series of thinkers who reviewed, evaluated and transformed 19th-century thought. A generation of thinkers - among them, Henri Bergson, Emile Durkheim, Sigmund Freud, Martin Heidegger, Edmund Husserl, Karl Jaspers, Max Scheler, and Ludwig Wittgenstein - completed the disenchantment of the world and sought a new re-enchantment. (shrink)

At the centre of Kant’s “Critique of Aesthetic Judgment” lies a tantalising relation, the reciprocal semblance between nature and art, upon which the entire text pivots. With this thought, Kant suggests a critically licensed blurring of some of the defining presuppositions of critical philosophy and reconfigures the ancient problematic of mimesis. This paper will offer a sketch of how some of Kant’s key successors attempt to extend his project of ‘transcendental critique’ in the field of aesthetics by exposing and challenging (...) the residual pre-critical assumptions underpinning such a conception of the relation between nature and art. The possibility thereby arises of liberating critique from the restraints of the Kantian ‘as if’ without relapsing into a pre-critical naivety. In this respect the important notion of ‘auto-poiesis’, the indigenous artistic creativity of nature, will be considered in its phenomenological and materialist guises. (shrink)

This volume covers the period between the 1890s and 1930s, a period that witnessed revolutions in the arts and society which set the agenda for the rest of the century. In philosophy, the period saw the birth of analytic philosophy, the development of new programmes and new modes of inquiry, the emergence of phenomenology as a new rigorous science, the birth of Freudian psychoanalysis, and the maturing of the discipline of sociology. This period saw the most influential work of (...) a remarkable series of thinkers who reviewed, evaluated and transformed 19th-century thought. A generation of thinkers - among them, Henri Bergson, Emile Durkheim, Sigmund Freud, Martin Heidegger, Edmund Husserl, Karl Jaspers, Max Scheler, and Ludwig Wittgenstein - completed the disenchantment of the world and sought a new re-enchantment. (shrink)