Arts and Humanities, Misc

The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...) the fleetingness of life, making it a "town-scape" vanitas. (shrink)

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This paper integrates symbolic thought and experimental research. We hypothesized that symbolic narratives provide homeostasis for the complex adaptive system that is personality. Our interpretation of a dream was based, in part, on this hypothesis. We found that the dream retold the myth of Saturn. When, by direct experiment, we tried to falsify our interpretation, our results supported our interpretation and thereby supported our hypothesis. Previously, evidence for this hypothesis had been only anecdotal. __________________________________________ For an audio-record of entire class: (...) link is given on 1st page of the text you download from this page. (shrink)

One of the most widely read books in the world, considered a metaphor for the human condition, and suitable for a variety of interpretations, The Adventures of Pinocchio has had a major impact on world culture. The book responds to a prerogative that belongs only to masterpieces: that of being out of time. The book focuses on the psychological investigation of his central character Pinocchio, while trying to discover a humanity lost in the vacuum of technology and science. The myth (...) of Pinocchio is used to condemn the culture of violence and consumerism. Collodi successfully uses metaphorical interactions, bipolarities, and ambiguous miracles. Pinocchio's identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. The Adventures of Pinocchio explore how experiences gained in heterotopic space give the individual the ability to change panoramic vision, and how these experiences can ultimately show us how we can recover or restore our existence as individual subjects. -/- CONTENTS: -/- Abstract Carlo Collodi The Adventures of Pinocchio Pinocchio The Myth The Psychology The Duality The Heterotopy The Identity Artificial Intelligence The Humanism The Becoming The Demiurge The Education Bibliography -/- DOI: 10.13140/RG.2.2.20541.38887. (shrink)

Mathematics has a long track record of refining the concepts by which we make sense of the world. For example, mathematics allows one to speak about different senses of "sameness", depending on the larger context. Phenomenology is the name of a philosophical discipline that tries to systematically investigate the first-personal perspective on reality and how it is constituted. Together, mathematics and phenomenology seem to be a good fit to derive statements about our experience that are, at the same time, well-defined, (...) precise, and significant to our inner lives. However, there are difficulties stemming from the fact that phenomenology deals with inherently subjective things. Phenomenological investigations seem to lose their appeal when trying to approach them in the clear-cut way afforded by mathematics. How to overcome this obstacle? We argue that the Arts play a special role in mediating between the precise statements of mathematics and the sometimes fuzzy nature of our experience. Mathematics and art are complementary ways to come to a comprehensive understanding of reality. (shrink)

for a better literature, to understand literary tradition in Portugal.

is happyness productive? See book by Roger Scruton, "On Pessimism".

the journal of everyday life, between success and resiliation, shine and shadow, clarity and sadness.

Rodney Needham bipolarity in a small context.

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

This paper’s aim is to establish an explanation for the separation of Northern minds, by examining the influence of a variety of factors on the shaping of people’s sense of identity at the time. Near the end of the 16th century the Groningers had proven to be a people with a mind of their own—impetuous, unruly and, in the end, unwilling to join the Republic in its efforts to liberate itself from its oppressive Spanish overlord. One by one the Dutch (...) cities had joined the revolution, but the city of Groningen refused. The ‘Ommelanden’—the city’s surrounding territory—however, did not—laying bare a critical disagreement between two ‘classes’: the Saxon city elite and the predominantly Frisian countryside nobles (Dutch plural: landjonkers/jonkheren). (shrink)

It is no accident that white privilege designed to be both be invisible and weightless to white people. Alison Bailey’s “On White Privilege and Anesthesia: Why Does Peggy McIntosh’s Knapsack Feel Weightless?” extends a weighty invitation white readers to complete the unpacking task McIntosh (1988) began when she compared white privilege to an “invisible and weightless knapsack.” McIntosh focuses primarily making white privilege visible to white people. Bailey’s project continues the conversation by extending a ‘weighty invitation’ to white readers to (...) explore why the metaphorical knapsack, despite the weight of its contents, feels weightless. Here’s the short answer. The knapsack only feels weightless because white people have become anesthetized us to our own brokenness. We are more comfortable considering what white privilege does for us than what it does to us. People of color feel the weight of whiteness every day. The weighty invitation invites white readers to become sensitive to our own insensitivity. To do this Bailey (1) explores white resistance to unpacking the weight; (2) people of color’s testimonies to the daily impact of the weight on their bodies; and (3) how the anesthesia of white privilege distorts our humanity. The article concludes with a McIntosh style list of that the anesthesia of privilege distorts white people’s humanity. (shrink)

The paper argues that the digitalization enterprise revives, beyond the post-modern period of interpretive anarchism, the XIXth century ideal of philological probity.

HIV and AIDS is still menace bedeviling society particularly in 3rd world countries such as Zimbabwe. The impacts of HIV/AIDS are gravely felt within workplaces as affected employees suffer from stigma and prejudice. Organizations also suffer as the pandemic leads to high absenteeism and a high rate of employee turnover. This writing therefore addresses the impact of HIV/AIDS in organizations and communities and how the Zimbabwean Government, NGOS, Trade Unions and Companies have been battling this pandemic and the achievements made (...) to date. (shrink)

We are considered to be highly evolved conscious beings, but if we look at ourselves, do we actually feel that we are there; wise men or Homo sapiens as we call ourselves? In today’s world, reward based conditioning forms our contemporary culture that deeply defines how we look at life and how we intuitively perceive our consciousness. Presently, acquisitions are our priority and we behave as narcissistic conditioned puppets and let governments and corporations rule our lives. We are hypocrites that (...) can see, but behave blind; blinded within the realms of our short-termed thrills, joys and beliefs. Augmenting logical questioning and logical conditioning is the only way we can come out of this state that cannot be done individually, it has to be a collective effort. This paper is an attempt to understand our very own evolved consciousness and its relation to the current world with the true meaning of our existence, where we seek to understand it from a logical sense. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

“Adaptive Reuse. Theoretical Glossary and Design Labs” is an incoming book, featuring essays on the topic of “adaptive reuse” from worldwide academics and selected projects from Reuse The Ruin summer workshops (2021, 2022, 2023), to be published in 2024.

Cả một vạt hoa vối lúc tháng 5-6 chi chít khắp các cành nay đã rụng tơi tả sau nhiều cơn mưa lớn của tháng 7.

Dieser Text beinhaltet nichts Neues. Nur hinlänglich Bekanntes, Erinnerungen an Gelesenes und Reflektiertes, vor allem zur Philosophie der Kunst mit ihrer zentrale Frage, was Kunst ist. Und eng damit verknüpft die Frage, was ein Kunstwerk ist und was einen Künstler und eine Künstlerin auszeichnet. In diesem Essay wird es aber nicht um die Kunst im Allgemeinen gehen, sondern um die abstrakte Kunst und die abstrakte Malerei im Besonderen. Was zeichnet sie aus und was ist ihr Wesen? Ist es die Freiheit?

Due to its concept and methodology, Graingers book on Frontinus is more fact-based fiction than biography. The reader gains an insight into how Frontinus' life and career might have unfolded, taking into account our knowledge of the Roman Empire in his time and the information about him that is confirmed by our sources. The author's assumptions are always plausibly substantiated. However, when reading the book, one learns far more about the Roman Empire, its provinces, its rulers and the political and (...) military conditions in the 1st century AD than about Frontinus. In this respect, this book is very exciting and informative, and it is also pleasant to read. (shrink)

Over the last two years, the third wave of artificial intelligence (AI) has emerged powerful tools for both artistic expression and scientific research. In design, image generators display an equivalent disruption to text generators, while the medium of text creates the new scope of writing prompts. This contribution discusses the ambivalences between text and image generators via two main theses: first about the potential of prompting and generated images as a medium of discourse; second, it examines the reasoning behind their (...) tendency to be mystified. Prompts can be automated through text generators and used to generate images on a wider scale, making it a praxis in which precise wording becomes crucial for generating anything. Generated images practice a form of mimesis. With Generative Adversial Networks (GANs) producing non-referential images, the discourse of illustration is concerning the obsolescence of authorship. AI is observed to manifest a dual character, serving as both tool and author, even though AI does not own the classification of a person and is not an author in legal terms. The utilization of text and image generators is intertwined with a mythicized notion due to their non-verifiable mode of operation. The myth of AI is a product of its indeterminacy. (shrink)

Descartes’ first book, 1618’s Compendium of Music, focuses on biomechanical reactions in the human body but also claims that the purpose of art is to arouse emotions. By the end of the 1630s, however, he had given up on precisely predicting how that arousal may occur. This article contends, though, that Descartes’ abandonment of that project is a result of using an inappropriate psychological model for such predictions. An appropriate model is developed in his last book, 1649’s The Passions of (...) the Soul. Especially by attending to generosity and desire, the probability of predicting aesthetic judgments is at least increased. In increasing it, Descartes’ abandonment need not be total. (shrink)

Facing marginalization under the Awami League and historical stigma, the BNP’s recent outreach to India signals a pivotal shift. This commentary explores how the BNP seeks to establish legitimacy, distance itself from past associations, and connect with a younger electorate by advocating for democratic principles, social justice, and individual empowerment. It argues that a renewed commitment to ethical leadership and social justice will allow the BNP to bridge socio-economic divides and appeal to a disillusioned, younger electorate. This reorientation could shape (...) a more inclusive, equitable political landscape, offering a foundation for Bangladesh’s democratic future. (shrink)

This piece explores the recent diplomatic shift between the Bangladesh Nationalist Party (BNP) and India, following remarks by BNP Secretary General Mirza Fakhrul Islam Alamgir. I analyze the broader implications of this unexpected development and how it reflects deeper issues within Bangladesh’s political system, particularly the reemergence of Jamaat-e-Islami and the BNP’s strategic positioning against Awami League.

The article explores and discusses the doctoral research's creative, digital, and visual representation through the "RADICANT 003" virtual reality experience. Grounded in visual methods and the arts sciences, the article outlines its overall structure and contextualizes it within the broader research that in/forms it. It introduces Guma Joana, the Brazilian artist at the centre of this phase of the project. The article articulates theory and practice, ethnography and data presentation. And it is the experience we offer of the work of (...) the artist and of our own view of her that accounts for this dual operation. The paper details two digital mechanisms designed to engage users within the virtual reality environment: one mechanism deconstructs Instagram posts, while the other immerses the user in 360° videos. (shrink)

Δύο επίμονα θέματα ζωντανεύουν όλη τη γραφή του Αλμπέρ Καμύ και αποτελούν τη βάση του καλλιτεχνικού του οράματος: Το ένα είναι το αίνιγμα του σύμπαντος, το οποίο είναι εκπληκτικά όμορφο αλλά αδιάφορο για τη ζωή. Το άλλο είναι το αίνιγμα του ανθρώπου, του οποίου η λαχτάρα για ευτυχία και νόημα στη ζωή παραμένει άσβεστη από την πλήρη επίγνωση της δικής του θνητότητας και της κυρίαρχης αδιαφορίας του περιβάλλοντός του. Στη ρίζα κάθε μυθιστορήματος, κάθε θεατρικού έργου, κάθε δοκιμίου, ακόμη και κάθε (...) καταχώρησης στα τετράδιά του βρίσκεται η αδιάκοπη ανάγκη του Καμύ να διερευνήσει και να προβληματιστεί για τον ειρωνικό διπλό δεσμό που αντιλαμβανόταν ότι ήταν η ουσία της ανθρώπινης κατάστασης: Ο άνθρωπος είναι προικισμένος με τη φαντασία να συλλάβει μια ιδανική ύπαρξη, αλλά ούτε οι συνθήκες, ούτε οι δικές του δυνάμεις επιτρέπουν την επίτευξή της. Η αντίληψη αυτού του απελπιστικού διπλού δεσμού έκανε αναπόφευκτη στον Καμύ την υποχρέωση να αντιμετωπίσει ένα κυρίαρχο ηθικό ζήτημα για τον άνθρωπο: Δεδομένης της περιορισμένης κατάστασης του ανθρώπου, υπάρχουν έντιμοι όροι με τους οποίους μπορεί να ζήσει τη ζωή του;. (shrink)

An argument for the abolition of Intellectual Property Rights (IPR) and a step into the wild blue yonder – i.e., beyond Open Access (OA) and Creative Commons (CC) protocols. The “Introduction,” prior to “Paralogisms for Artist-scholars” utilizes an almost Pater-esque aesthetic deployment of time-senses and verb tenses that also resembles the doubled subjective states of Derridean exposition, but actually opens on to theologically inflected re-considerations of the generative nature of gramma.

Paulo Freire’s contribution to pedagogical discourses is commonly encapsulated behind the notions of the “banking method” and “culture of silence” which connotes classroom practices that subjects the learner into domesticating pedagogical methods and contents. In Freire’s Pedagogy of the Oppressed, this phenomenon is not only restricted to classroom dynamics, but in fact, reflective of domination in the public sphere. In this work, therefore, I will discuss the political angle of Freire’s critical pedagogy founded in his analysis of domination and anti (...) -dialogical praxis. -/- Hence, this work will expose the way in which Freire translates the power dynamics of anti-dialogical culture and politics into an alienating classroom environment. In this light, this paper also aims to provide a conceptual grammar in analyzing the contemporary direction of pedagogical practices. Though the aim of this work is simply exposing Freire’s theory of domination, on the one hand, its theoretical underpinning could guide and direct modern pedagogues in cultivating the learner’s critical consciousness. On the other hand, I believe the discourse of critical pedagogy holds a comprehensive approach to domination which will provide a formidable theoretical framework in the pursuit of political consciousness – realizing Freire’s conscienticized learner. (shrink)

Urban spaces, often emerging outside formal, recognized boundaries, underscore the pivotal role women play in shaping these environments. Despite the enduring influence of patriarchal and hierarchical structures that render these spaces overtly gendered, it is within these contexts that women’s actions become particularly transformative. Drawing from feminist urban theories of the global south, this paper investigates informal placemaking, feminist urban activism, revolutionary placemaking, online protest movements, and the networks that support women’s solidarity groups. Employing a mixed-methods approach that includes case (...) studies, interviews with activists, and social media analysis, this research focuses on Iran, with a specific emphasis on the recent ‘Women, Life, Freedom’ movement. This study not only highlights how women navigate, contest, and reshape urban spaces through feminist urban activism and informal revolutionary placemaking but also anticipates the broader implications of these actions for urban planning and policy. By analyzing and comparing these case studies, we aim to uncover the commonalities, differences, challenges, and opportunities between informal/formal, state-led/bottom-up, and revolutionary feminist placemaking practices in Iran. The findings of this paper are expected to contribute valuable insights into the dynamics of feminist urbanism and suggest avenues for future research in enhancing the inclusivity and responsiveness of urban spaces to gendered needs and activism. (shrink)

Adaptive reuse embodies a significant transition in the evolution of urban landscapes, representing a paradigm shift from industrial or obsolete uses to vibrant, sustainable, and community-centric functions. This transformative process, deeply rooted in the principles of sustainable urban development, emphasizes the conservation of architectural heritage, environmental sustainability, and socio-economic revitalization. At the heart of adaptive reuse is the concept of sustainability, which challenges traditional notions of development and conservation by repurposing existing structures, thereby conserving resources, and reducing the carbon footprint (...) associated with new constructions. These initiatives align with broader sustainability goals, such as those outlined in the 2030 United Nations’ Sustainable Development Goals (UN SDGs), particularly those related to sustainable cities and communities, responsible consumption and production, and climate action. (shrink)

It is a remarkable thing to find oneself suddenly surprised by an author after having spent years analysing, interpreting, and teaching their works. And yet, that is precisely the experience of many Kant specialists in recent times, as greater attention than ever has been placed on Kant’s discussions of gender and race. Part of the disorientation for Kantians surely comes from the way in which these investigations—oriented as they are by questions of empire as opposed to say, metaphysics—are able to (...) make a body of work that has been long-familiar seem strange and new. It is in this vein that I want to use my discussion here as an opportunity to reconsider one of Kant’s most familiar texts, the Groundwork of the Metaphysics of Morals, in order to focus on the case of moral failure presented by the person who has chosen an easy path in life: one who has ‘seine Talente verrosten ließ’ (4:423; let their talents rust, 75), to use Kant’s phrase.1 With this in focus, I will identify four subsequent counter examples offered up by Kant, each meant to offer specific cases of non-Europeans in a manner that can provide further moral instruction on this point. What this approach should reveal is not only Kant’s unsurprising consistency regarding the need for self-improvement, but also the compatibility he evidently saw between engaging his readers in moral guidance, on the one hand, and identifying non-European others as counterexamples of a morally worthless existence, on the other. (shrink)

Drawing on Husserl, Ingarden and Levinas’ works, this article explores Ibsen’s Rosmersholm from a phenomenological perspective, aiming to shed light both on this play and on the phenomenology of hunger and theatre, as well as on the larger meaning of alimentary enjoyment.

There is a relationship between touch and language at the heart of which lies the philosophical problem of the secret. As Derrida points out, since Aristotle touch has been qualified as ἄδηλον: secret, nocturnal, barely apparent. After some brief etymological remarks, in this article, I explore the mystery that touch represents for language through Levinas’ concept of the secret, thematizing two levels: first, that of the contemporary critique of ocularcentrism, then the level of the tactile experiences that can hardly be (...) put into words. (shrink)

La práctica de Actividad Física y Deportiva en los procesos de reinserción promueve escenarios formativos integrales para la construcción de relaciones saludables dentro del entramado social, presentándose como una herramienta efectiva para el trabajo con jóvenes en situación de riesgo por contexto de pandillas. Esta investigación tuvo como objetivo analizar la práctica del rugby como alternativa dentro de los procesos de reinserción social de jóvenes ex-integrantes de pandillas junto al Colectivo Calle, Paz y Respeto de la ciudad de Ibarra-Ecuador. La (...) investigación empleó un enfoque cualitativo basado en el estudio de caso y análisis etnográfico, utilizando entrevistas semiestructuradas para recopilar datos. El análisis, codificación y categorización de la información se realizó mediante el software MAXQDA, enfocándose en tres categorías: Actividad Física y Deportiva, Reinserción Social e Identidad. Los resultados revelan correlaciones significativas, como la relación entre reinserción social y oportunidades de superación; uso adecuado del tiempo libre y salud mental; y, la decisión de cambiar y oportunidades de superación. Se concluye que el rugby se presenta como un medio eficaz para la reinserción social de jóvenes en situación de riesgo, gracias a su potencial para mitigar conflictos, regular conductas violentas e inculcar hábitos positivos como la disciplina, respeto y compromiso. (shrink)

Theoretically grounded in queer death studies and environmental humanities, this article has a twofold aim. Firstly, it explores the somatechnics of environmental violence in the context of Northern and Eastern Europe, while paying attention to ongoing ecocide inflicted by Russia on Ukraine, and to the post-WW2 chemical weapon dumps in the Baltic Sea. Secondly, the article examines the concept of eco-grief in its close relation to artistic narratives on ecocide. By bridging the discussion on environmental violence and artistic renderings of (...) eco-grief, the article hopes to contribute to a better understanding of the socio-cultural responses to more-than-human death and loss, and their accompanying ethical imaginaries and affordances. (shrink)

In the creation of maps, scientific knowledge related to mathematics and physics combines with knowledge specific to graphic or artistic disciplines. Since all maps are artifacts whose aesthetic qualities convey information that simultaneously engages the fields of ontology, epistemology, and politics, they are objects of undeniable interest for philosophical inquiry. Following what has been termed “the cartographic turn in social sciences”, The Art of Mapping Between Land and Mind delves into two intertwining issues. On one side, it examines how the (...) aesthetic properties of maps convey cognitive, cultural, and political meanings. On the other, it explores the role of visual arts in reflecting on cartographic thought, shaping both its methods and motivations. The volume is divided into four sections. Embracing the point of view of both the philosopher and the geographer, the first one sheds light on the relationship between epistemology and cartography (Kukla; Costantini; Tanney). The second addresses mapmaking as an art form (Tanca; Haugdal) or, conversely, considers maps from the perspective of their aesthetic properties (Török; Ogundiwin; Elhaik). The third focuses on the digital condition of today’s cartography (Tschochohei; Quaranta; Keller). Finally, the last section includes two contributions that represent attempts to guide cartography toward its future (Bosca; Ianniello). Opening this issue, a special essay by Elizabeth Povinelli offers a generous précis of her upcoming book. (shrink)

This is a short academic book based on Shakespeare’s Macbeth (original). The approach and procedure on writing critical answers of the play is authored on advanced thoughts of the Council for Indian School (XI and XII, ISC). This book can also be used by college students on preliminary understanding to analyse this Shakespearian play as The Prologue of Evil. .....In the play, Hecate is presented as a separate character from three witches who first appear in Act 1, Scene 1. Hecate's (...) role is primarily that of an observer and commentator on actions of Macbeth and the other characters. She serves as a counterpart to Lady Macbeth, as she rules the three witches and is drawn from the Greek goddess of feminine magic. Goethe's judgment of Lady Macbeth as a super witch is the most well-known evaluation of calling her a witch. This is used to describe evil forces she has that are more terrible than three witches in the play.” . (shrink)

On the 17th of May 2020, the Albanian National Theatre in Tirana was demolished overnight, in the days of the first major lockdown due to the COVID-19 pandemic. The theatre was built in 1939, when the Italian military occupation of the Albanian territory was officially established, after decades of increasing influence on the local economy by the fascist regime. That day was the climax of a two-year-long protest against its demolition by local associations, and international organisations. This event demonstrates the (...) importance of debating on the contested material and immaterial traces that the Italian presence in Albania left behind, culminating with a military occupation during WWII. This text surveys the exhibitions, curated or organised by Italian institutions, with the aim of tracing the evolution of the colonial narrative from fascist propaganda to contemporary initiatives. Starting in the 1920s, the Italian Ministero delle Colonie opened trade exhibitions, ethnographic displays, political and recreational events. During the occupation, Albania was featured in the Mostra Triennale delle Terre Italiane d'Oltremare (1940) and many other venues up to recent shows in Tirana. The first exhibitions were essential devices to support Italian territorial claims, built on the argument of an alleged Mediterranean tradition of the area, reunited once again under the “Roman” identity flag. The political-ideological nature of the artistic productions, the biased historical discourses around the myth of Roman origins, and the aesthetics employed in such events formed a strong narration that lasted much longer than the military presence on the territory. Taking this case as an example, we will see how exhibitions were instrumental to the authoritarian regime in the identity-building process; how contested narratives can be twisted in the contemporary political debate; and to what degree this heritage can be considered a shared legacy by both parties, the coloniser and the colonised. (shrink)

Contents I Introduction II Subalternation and Theology III Theology and Dogmatic Declarations IV The Mixed Principles of Theology V Virtual Revelation: The Unity of Theology VI Theology as a Natural Science VII Theology’s Certitude VIII Conclusion Notes Bibliography All the contents are fully attributable to the author, Doctor Victor Salas. Should you wish to get this text republished, get in touch with the author or the editorial committee of the Studia Poinsotiana. Insofar as possible, we will be happy to broker (...) your contact. (shrink)

Rogier van der Weyden'in bu olağanüstü eseri, Yüce İsa'nın acılı veda anını derinlemesine işleyerek bize büyük bir ruhani derinlik sunuyor. Ressamın bu eseri hayata geçirirken duyduğu büyük acı ve ruhsal derinlik, onun sanatının kalbinde yatan insanlık ve inanç temasını güçlendiriyor. O dönemin zenginleri arasında büyük ün kazanmasının ardında yatan şey, bu eserin sanatın sınırlarını aşan etkileyici gücüdür. Ancak şüphesiz ki, bu eser insanlık için yaratılırken, hangi inançtan olursa olsun herkese dokunan bir acıyı da temsil ediyor. -/- Ressamın duygularını ve detayları (...) bu denli etkileyici bir şekilde aktarması, bu eserin günümüzde bile büyük bir hayranlıkla karşılanmasına yol açıyor. Van der Weyden'in tablosu, insanlık tarihinde derin izler bırakan evrensel bir sanat eseri olarak kabul ediliyor. Bu çeviriyi yaparken dönemin koşullarını ve sanatın gücünü daha iyi anladım. Vikipedi gibi kaynaklardan bilgi çevirirken, yabancı dillerdeki bilgilere olan erişimin önemini bir kez daha kavradım ve bu eseri Türkçe konuşanlarla buluşturmanın değerini anladım. -/- Umarım bu eser, okuyuculara van der Weyden'in sanatının derinliğini ve insanlık hikayesinin evrenselliğini anlatırken ilham verir ve onları düşündürür. Sanatın gücü ve insanın duygusal derinlikleri konusundaki bu yolculuk, hepimizi daha iyi bir anlayışa ve içsel bir zenginliğe yönlendirebilir. -/- --- -/- Rogier van der Weyden's extraordinary work offers us profound spiritual depth by delving deeply into the poignant farewell moment of Jesus Christ. The profound sorrow and spiritual depth felt by the painter while creating this work strengthen the theme of humanity and faith at the heart of his art. The impressive power of this work, which transcends the boundaries of art, lies behind the great fame it achieved among the elites of its time. However, unquestionably, this work also represents a universal sorrow that resonates with people of all beliefs. -/- The painter's ability to convey emotions and details in such a compelling manner has led to enduring admiration for this work even in contemporary times. Van der Weyden's painting is recognized as a universal masterpiece that has left deep imprints on the history of humanity. Translating this text has deepened my understanding of the conditions of the time and the power of art. It has also reinforced the importance of accessing information from sources like Wikipedia in foreign languages, and I have come to appreciate the value of bringing this work to Turkish-speaking audiences. -/- I hope this work inspires readers by revealing the depth of van der Weyden's art and the universality of the human story, prompting them to reflect. This journey into the power of art and the emotional depths of humanity can lead us all to greater understanding and inner richness. (shrink)

The Handbook of Antique Photographs is a short publication created by UCLan Associate Lecturer Brandon Reece Taylorian as part of his Dating Antique Photographs Project funded by UCLan's Institute of Creativity, Communities and Culture. The Handbook begins with a brief history of the origins of portrait photography followed by Taylorian's introduction of a step-by-step method for deconstructing and dating antique photographs ('antique' is defined in the Handbook as referring to any photograph that is more than 100 hundred years old). The (...) Handbook then goes on to provide details on each type of nineteenth-century photograph from the earliest type daguerreotypes to ambrotypes, tintypes, cartes de visite, cabinet cards and cartes postale with examples given for each. Each of the sections includes details on fashion and style of the period, the composition and settings for photographs and the items portrait subjects commonly held. The Handbook concludes by outlining the useful role that photographer logos and royal warrants can play in helping family historians to estimate when their nineteenth-century photographs were taken. (shrink)

This paper explores the profound teachings of the Yoga Sutras and their application in modern psychological and therapeutic contexts. Yoga, as defined by Patanjali, aims to tranquil the fluctuations of the mind and achieve spiritual liberation through the integration of conscious and unconscious processes. The critique of Western dualism (more specifically Cartesian’ dualism) in favor of a unified perspective with Samkhya philosophy is discussed, emphasizing the role of the intellect, karma, and self- awareness in achieving mental calm and freedom from (...) suffering. Modern challenges such as social media’s impact on identity and the rise of mental as well as psychological disorders are examined through the lens of the methods of Yoga Philosophy, highlighting the efficacy of mindfulness and yoga therapies in promoting self-regulation, inner well-being, and peace. (shrink)