A humanidade tem sido tomada por angústias tão sutis que, aos poucos, vai se dissolvendo – física e psicologicamente – como se estivesse sendo consumida de dentro para fora. Neste sentido a saída – ainda que imediata e provisória – é propor um jogo de Xadrez com a morte. Não à toa Ingmar Bergman escolhe o Xadrez como a forma da sua personagem desafiar “alguém” tão poderoso. O jogo é um chamamento à razão, à luz capaz de organizar as ideias (...) e dar um rumo à vida. (shrink)

Em 2022 teremos uma celebração muito especial para a Música Popular Brasileira. O icônico disco “Clube da Esquina”, de Milton Nascimento e Lô Borges, completará 50 anos de lançado. O álbum apresentou ao mundo mais do que o resultado de uma parceria musical de rara beleza; ele foi uma espécie de marco zero de um movimento artístico e existencial nascido na bucólica Belo Horizonte da segunda metade da década de 1960, envolvendo amigos, música, cinema e literatura.

Quando assisti pela primeira vez a “Sociedade dos Poetas Mortos”, em 1989 (ano de lançamento no cinema), a história protagonizada pelo saudoso Robin Williams me comoveu profundamente. Naquela época eu caminhava rumo aos meus 20 anos, quando a vida ainda parece uma areia movediça e o futuro, uma eternidade. Eu ainda estava na Faculdade de Filosofia da UFBA, em Salvador, preparando-me para ser professor.

Revendo recentemente o ótimo filme “A Vila”, do diretor indiano M. Night Shyamalan (o mesmo diretor de “O Sexto Sentido”, “Corpo Fechado” e “Sinais”), é possível entender os motivos que levaram os fundadores do vilarejo fictício a criar um mundo à parte para as futuras gerações. O filme, de 2004, é inserido no gênero “suspense” por conta de sua história central em torno de uma lenda sobre criaturas aterradoras que vivem na floresta. Estas são o empecilho para que os moradores (...) cultivem o desejo de deixar o único lugar que conhecem. (shrink)

Desde que foram criados pelos sumérios há mais de 5 mil anos, os livros sempre aterrorizaram os ocupantes do topo de quaisquer formas de poder. Neles estiveram e continuam sendo guardados os sonhos, as ideias, os projetos e as ações da humanidade em todas as vertentes possíveis, sejam eles libertadores e instigantes para as transformações positivas do mundo e do próprio ser humano, sejam eles os caminhos opostos da destruição e da opressão. [...].

Ainda que possa ser visto como clichê sob diversos aspectos, o filme “O Céu da Meia-Noite” (dirigido e protagonizado por George Clooney para a Netflix) traz temas reflexivos na perspectiva existencial. Lançado em dezembro de um ano doloroso para a humanidade, ele teve as suas gravações encerradas pouco antes do início da pandemia, ainda que traga uma atmosfera tão soturna quanto a deste momento histórico.

O início da terceira década do século 21, tão marcado pela globalização tecnológica e virtualização das relações humanas, ainda mantém fortes laços com o obscurantismo religioso da Idade Média. Com outra roupagem, o fanatismo de muitos cristãos das mais variadas igrejas eterniza sentimentos e ações que acreditávamos superados há séculos. A intolerância religiosa, normalmente carregada de outras tantas intolerâncias na pauta moral, revela com clareza que a caça às bruxas nos tempos da chamada Santa Inquisição foi atualizada com sucesso. O (...) Brasil, por exemplo, vive um de seus piores momentos históricos neste sentido, principalmente pelos recorrentes ataques furiosos às religiões de matriz africana e crimes de agressão e morte contra as chamadas minorias sociais. (shrink)

Mais de duas décadas após o seu lançamento, em 1999, o primeiro filme da trilogia Matrix tem neste segundo ano da pandemia do coronavírus uma atualidade atordoante. Em muitos aspectos, a humanidade vive dias muito próximos do enredo surreal descrito nos três filmes, que revi recentemente provavelmente pela décima vez. A diferença é que a realidade sombria vivida por bilhões de pessoas nos quatro cantos da Terra desde março de 2020 não tem uma versão amena como a existente dentro da (...) Matrix. (shrink)

“Não existe ninguém que não esteja mais próximo da morte depois de um ano que antes dele, amanhã mais do que hoje, hoje mais do que ontem, pouco depois mais do que agora e agora pouco mais do que antes”. Neste trecho do livro “Cidade de Deus”, um dos mais importantes filósofos da Idade Média – Santo Agostinho (354-430) – enfatiza uma velha constatação da humanidade, mas que a angustia em qualquer época.

In an attempt to discover the facial action units for affective states that occur during complex learning, this study adopted an emote-aloud procedure in which participants were recorded as they verbalised their affective states while interacting with an intelligent tutoring system (AutoTutor). Participants’ facial expressions were coded by two expert raters using Ekman's Facial Action Coding System and analysed using association rule mining techniques. The two expert raters received an overall kappa that ranged between.76 and.84. The association rule mining analysis (...) uncovered facial actions associated with confusion, frustration, and boredom. We discuss these rules and the prospects of enhancing AutoTutor with non-intrusive affect-sensitive capabilities. (shrink)

Abstract:Although Victor D’Amico’s pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D’Amico’s key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art (...) educators and museum educators as requiring different kinds of foundational work and an acknowledgment of the importance of the museum as a context for art education. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

Dans un contexte marqué par la révolution industrielle, et donc la mécanisation du travail, Oscar Wilde porte un regard critique sur les possibilités nouvelles accordées à la mise en scène de théâtre. Loin d’être accessoire, la scénographie est constitutive d’une œuvre irréductible au texte et fait, du théâtre, le lieu d’un art total où le décorateur est artiste et les métiers collaborent.

La vie de Nicolas d'Autrecourt (1298-1369) connait un tournant decisif en 1346. Il est en effet contraint d'abjurer certaines de ses theses et de renoncer a tout droit a l'enseignement. Celui qui fut vers 1330-1340 l'une des principales figures de la faculte des Arts, aux cotes de Buridan, doit mettre un terme a une oeuvre philosophique deja riche de promesses. On propose ici la premiere traduction francaise de la Correspondance que Nicolas d'Autrecourt a entretenue avec le franciscain Bernard d'Arezzon et (...) le maitre es arts Gilles du Foin. Il esquisse la certains des themes importants de son epistemologie, exposant notamment les criteres de la connaissance evidente et developpant une theorie des inferences originale. On trouvera egalement une traduction des theses que Nicolas d'Autrecourt dut abjurer. On pourra ainsi se faire une idee de certaines de ses preoccupations intellectuelles qui n'apparaissent pas dans la correspondance et essayer de comprendre pourquoi la carriere d'un intellectuel prometteur fut ainsi brisee. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

The theme of the relationship between art and society is certainly not a central topic in the aesthetic reflection of Italian neo-idealism. Neither in Croce nor in Gentile it is ever discussed at length, and the few writings in which it is addressed are brief and polemically oriented. This essay, however, proposes to discuss the few hints present in Croce and Gentile on this subject. First, the debate on the materialistic interpretation of history will be examined, to which both Croce (...) and Gentile made important contributions at the end of the 19th century. Secondly, Croce’s own way of doing the history of literature will be discussed, showing the differences that distance him from the Desanctisian model and also from the model derived from the Hegelian Aesthetics. Croce’s way of making history of literature, indeed, aroused harsh criticism after World War II and provoked a request for a “return to De Sanctis”.Finally, but the theme will be only hinted at in the essay, a brief reference will be proposed to the opinions of Antonio Gramsci and his reading of Croce. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces? This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete (...) scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue. Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible. (shrink)

A capoeira ou capoeiragem é uma expressão cultural brasileira que mistura jogo, esporte, arte marcial, cultura popular, tradição, dança e música. Desenvolvida no Brasil por descendentes de escravos africanos, a capoeira é caracterizada por golpes e movimentos ágeis e complexos, utilizando primariamente chutes e rasteiras, além de joelhadas e cabeçadas, cotoveladas, acrobacias aéreas ou em solo. Praticantes da capoeira aprendem não apenas a lutar e jogar, mas também a tocar os instrumentos típicos e cantar. Assim, os discentes do 6º ano (...) de uma escola estadual da cidade de Itabuna—BA, os quais apresentavam dificuldades para ler e escrever. Entretanto, nas aulas de capoeira, os alunos se mostravam mais motivados para ler. Então, surgiu o problema que norteou essa pesquisa, a saber: como o jogo de capoeira vem sendo trabalhado, para estimular a melhoria da aprendizagem em leitura dos alunos, do 6ºano, em um colégio estadual, na cidade de Itabuna – BA? Portanto, o objetivo geral desse artigo é analisar de que maneira o mestre usa o jogo da capoeira, como ferramenta motivacional, nas práticas pedagógicas, para a melhoria da aprendizagem da leitura, entre os alunos do 6º ano, do ensino fundamental II. Desse modo, a utilização de estratégias de leitura, partindo da diversidade dos gêneros textuais, de modo lúdico, através da capoeira, no processo de ensino-aprendizagem, é um assunto que é discutido nessa pesquisa, pois esta se justifica pela necessidade de contribuir para uma melhora do processo de ensino e aprendizagem, partindo de pressupostos presentes na BNCC. Palavras-chave: Capoeira, Fomento à Leitura, Gêneros Textuais, Lúdico. (shrink)

“Sentiment” is a term of art, intended to refer to object-directed, irruptive states, that occur in relatively transient bouts involving positive or negative affect, and that typically involve a distinctive motivational profile. Not all the states normally called “emotions” are sentiments in the sense just characterized. And all the terms for sentiments are sometimes used in English to refer to longer lasting attitudes. But this discussion is concerned with boutish affective states, not standing attitudes. That poses some challenges that will (...) be my focus here. Rational sentimentalism is a cousin of fitting attitude theories of value, but other fitting attitude theories appeal to attitudes that are widely assumed to be governable by certain kinds of judgments. The basic challenge is this: are these boutish sentiments the sorts of things that we can and do regulate in the ways that are required for treating ‘shameful’, ‘funny’, ‘disgusting’ and the like as values? In what follows I briefly sketch some necessary conditions on treating something as a value, from which it emerges that treating sentimental values as values requires regulating the sentiments for fittingness. The rest of the paper is devoted to two ways of understanding how such regulation might work. I argue first that sentiments are susceptible to regulation by evaluative judgment, though perhaps not in quite the same way that philosophers have thought “judgment-sensitive attitudes” are regulated by judgment. I then suggest more tentatively that sentiments are also susceptible to regulation for fittingness in a different way: by educating sensibilities. (shrink)

Intuition in medical and moral reasoning -- Moral intuitionism -- The place of Aristotelian phronesis in clinical reasoning -- Aristotle's practical syllogism: accounting for the individual through a theory of action and cognition -- Individual and statistical physiognomy: the art and science of making the invisible visible -- Clinical intuition versus statistical reasoning -- Contingency and correlation: the significance of modeling clinical reasoning on statistics -- Abduction: the intuitive support of clinical induction -- Conclusion: medical ethics beyond ontology.

Nelson Goodman's distinction between autographic and allographic arts is appealing, we suggest, because it promises to resolve several prima facie puzzles. We consider and rebut a recent argument that alleges that digital images explode the autographic/allographic distinction. Regardless, there is another familiar problem with the distinction, especially as Goodman formulates it: it seems to entirely ignore an important sense in which all artworks are historical. We note in reply that some artworks can be considered both as historical products and as (...) formal structures. Talk about such works is ambiguous between the two conceptions. This allows us to recover Goodman's distinction: art forms that are ambiguous in this way are allographic. With that formulation settled, we argue that digital images are allographic. We conclude by considering the objection that digital photographs, unlike other digital images, would count as autographic by our criterion; we reply that this points to the vexed nature of photography rather than any problem with the distinction. (shrink)

I argue that Kant’s theory of art meets the challenge of strong non-perceptual art, an idea I extrapolate from James Shelley’s account of non-perceptual art. I endorse the spirit of Shelley’s account, but argue that his examples fail to support his case because he does not distinguish between strong and weak non-perceptual art. The former has no perceptible properties relevant to its appreciation as art; the latter is not exhausted by appreciation of those perceptible properties it does have. I show (...) this by comparing Marcel Duchamp’s Fountain and Robert Barry’s All the things I know. For Kant, appreciating art aesthetically as art requires: (1) awareness that it is art and (2) responsiveness to the ideas presented. Taken together, this allows Kant to accommodate strong non-perceptual art. I consider three challenges to this view: (a) Kant is committed to a representational theory of art; (b) Kant is committed to a restrictive formalism about aesthetic judgements of art; (c) Kant’s understanding of aesthetic pleasure commits him to a perceptual theory of art. I reply that: (i) this is grounded in empirical generalizations external to Kant’s theory; (ii) Kant’s strong formalist views are at odds with his account of ‘subjective purposiveness’, and the latter has priority; (iii) Kant is offering a general theory of art, which must accommodate both literature and strong non-perceptual art. (shrink)

The article presents the main aspects of the art of accompaniment inspired by the augustinian exegesis of Lk 24:13-35, not without resorting, when necessary, to other relevant texts of the Bishop of Hippo. For this purpose, after a brief introduction which shows the actuality of the theme in the ecclesial sphere, it is briefly presented how Augustine interprets the life of the human being based on the metaphor of the journey and the pilgrimage, and how he conceives them to be (...) a time and a path of harmonious growth. This serves as a framework to offer Augustinian orientations for the art of accompaniment based on his interpretation of Lk 24:13-35. It is shown that Augustine has been little explored as a relevant figure for the Christian tradition of accompaniment. (shrink)

The chapter outlines Nietzsche's view of decadence, its history and effects. The philosopher held decadence to be any condition, deceptively thought good, which limits what something or someone can be. This concept informs his critical and affirmative projects, acting as a versatile tool to identify and overcome his own decadence and to resist the decadence of Western culture. Decadence appears in five major areas of concern to Nietzsche: physiology; psychology; art and artists; politics; and philosophy. Physical and mental phenomena provide (...) the substrate of his understanding, but they manifest in cultural, political, and philosophical forms that, in turn, affect the body and mind. In each of the five areas, the concept of decadence for Nietzsche serves 1) to unmask valued cultural phenomena as corrupt, 2) to name and analyze degenerate effects, and 3) to spur reflection on how to respond. (shrink)

Fino a vent’anni fa il nome di Solger, uno dei pensatori più significativi del Romanticismo tedesco, certo il più sistematico e filosoficamente attrezzato tra i protagonisti di quella grande stagione, era noto in Italia, anche fra gli studiosi di estetica, quasi soltanto per la menzione che delle sue teorie viene fatta nelle Lezioni di Estetica di Hegel. Nel giro di pochi anni, però, la situazione è radicalmente cambiata. Sono state tradotte le sue Lezioni di estetica, apparse postume nel 182...

In mill the principle of utility does not ascribe rightness or wrongness to anything. It governs not just morality but the whole art of life. It says that happiness is the only thing desirable as an end. But the meaning of this formulation is problematic, Since mill's theory of practical reason conceives this desirability as an end as generating reasons for action for all agents in a way implying impartiality between self and others, Whereas in the ordinary sense it does (...) not. This interpretation is supported by detailed textual analysis. (shrink)

I should like to add one new motif to our discussion. But to do so I must begin with an old question, exceedingly simple-minded for so learned an audience: "Why art?" However, in accordance with the limited task I set myself, it is best to frame it in less general form:"Why has art been needed by humanity as a biological species?".

In the strong or radical sense, the creation of a work of art succeeds, as Kant said, in exhibiting originality that is exemplary and unteachable. The creative artist generates new and valuable outcomes. He or she accomplishes this in a way that is neither predictable before it ..