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This essay uses the method of Tensegrity – a means of dynamic methodological triangulation that allows for open threads and poetic interventions.
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In the first part of the article, play is considered as a sport. In this case, sport is interpreted figuratively - as a metaphor for a particular type of being of humans. Ortega y Gasset’s essential definition of sports as play refers to the urge toward self-overcoming: „the game requires playing, as much as possible, better“. The second part of the article analyzes the relationship between play and „good utopianism“. Finally, the author analyzes the interpretation of Ortega y Gasset’s idea of hunting and reveals another meaning of play – as a form of relaxation from reality. The article draws comparisons between the idea of play in Schiller, Huizinga and Ortega y Gasset.
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The article deals with the meaning of Kant’s metaphor of free play of faculties in aesthetic judgment, discussed in the perspective of Schiller’s contrasting of work (labour) and play, which gave rise to a peculiar fictional, but conciliatory, status for the aesthetic. The article then traces some articulations between the realms of alienated labour and of free creativity in Hegel and Marx, and concludes with notes on the lasting social significance of this contrastive aesthetic metaphor.
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The article is focused on Hermann Hesse’s novel Steppenwolf, which treats of the problem of human loneliness, isolation from society and the search for the other in oneself. Тhe extreme recluse’s playings are a complex combinations of roles, masks and situations. This points to the double, a „deeply unаttractive figure“ (Hesse) that persistently appears, constantly ignoring the original...
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The aim of the article is to check the possibility for virtual phenomena, or their elements, to interact with one another and to produce a pluralistic critical ontology. A transition from a priori to a posteriori is to be conducted with the following modifications of paradigm: transcendental synthesis becomes a dynamic condition for immediate experience; imagination appears as a distinct potentiality, as an „inter-topos“ of free figuring when pro-cepts meet schema-images. In that sense, imagination obtains the status of „active potentiality“, or a kind of pliable modus of the transcendental synthesis.
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This paper examines the role of self-documentation in the care of the self. As is well known, Michel Foucault exposes how disciplinary power functions in hospitals, schools, prisons, and other institutions to train the living for productive use. An important tool of disciplinary power is documentation, or the recording and cataloguing of the living that constitutes them as objects of knowledge. I show how documentation creates and extends knowledge to individuals. At the same time, documents become physical appendages of the lives they record, which, while separable from those lives, nevertheless affect those lives. Despite these apparently negative functions, Foucault finds that documentation can also be the means by which the living take over their own disciplining. In writings about both fiction and ancient ethics, Foucault points to self-documentation as a way of objectifying the self before the self, so that the self may train itself according to self-imposed standards. Although disciplinary power may be inescapable, self-documentation offers a technique of counter-discipline that functions alongside and against institutional discipline.
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The essay overlays Michael Joyce’s 2015 novel, Foucault in Winter in the Linnaeus Garden – a polylingual, operatic fantasy comprised of invented letters— upon Foucault’s work, especially Madness and Civilization, as an existing topography that overlaps with the physical and emotional territories of the authors’ own lives. They meet at several locations, from New Hamburg and Nyack, to Marcel Broodthaers’ exhibition at MoMA, New York; while Daniel Bozhkov separately travels to Sweden, Spain, Germany, Bulgaria and Texas, in order to visit various locations mentioned in the novel, as well as ones not mentioned, but relevant to Foucault. The seemingly fragmented text, perforated by the authors’ letters to each other, exists in a non-stop costume ball of famous shadows – Goya, Dürer and Bosch meet Magritte, Deleuze and William Kentridge. A hand drawn map accompanies the essay as a parallel, Deleuzian fold that aims to further unravel the authors’ developing connection to each other (who first met through this project), and their relationship to Michel Foucault’s unsettling and foreverprovocative endeavor.
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This article explores and contrasts Deleuze’s thought and speculative realism (SR). Focusing on their respective approaches to art, it aims to show that the Deleuzian perspective can be regarded as a critique of SR’s treatment of art. It starts by demonstrating that a particular strand of SR known as object-oriented ontology (OOO) is unable to account for contemporary art as we know it. It then contrasts the approach of OOO with Deleuze’s thought, which endorses art and demonstrates an understanding of the nonhuman that can help to resolve some of the problems encountered by OOO. Having explored the differences between Deleuze’s thought and SR with respect to art, the article goes on to examine their similarities. It shows that both Deleuze and a rationalist offshoot of SR take an analogous approach to the relation between philosophy, art and science. Here, not only Deleuze and SR, but also SR and art, find common ground.
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This article deals with the ability of the concept of rhythm functioning in the texts of Deleuze and Guattari to discern the lines of navigation of thought from philosophy towards different forms of art (literature, cinema, painting, music) and backwards. Starting from the dynamic cartography of the problems and concepts discerned as suitable for such thought experiments by Sauvagnargues, Buchanan, Bogue, and Zepke, this research comes to the conclusion that the concept of rhythm is a suitable link for navigation of the possible cohesions between philosophy and different arts. The concept of ‘rhythm’ becomes a philosophical concept in the texts of Deleuze and Guattari and gains the ontological status transcending limits of philosophy and arts. It functions in the territory between the sound, word, and image, as well as the work of art, philosophy and life. Mainly from this ontological perspective, this concept receives the power to reveal not only horizontal, but also vertical, genealogical aspects of art as the process of becoming.
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Today, the battle between great ideas is not only fought via texts or speeches on TV screens, the radio, or at lectures or public debates, but also through real and virtual images, and so-called imagetexts. This paper tackles the image politics of the Romanian post-2016 anti-government popular resistance through some typical cases of imagetext: hashtags, symbols, videomapping, posters and some cases of visible space-occupation. These examples can present the anonymous (in some cases professional) artistic creativity, which helps the formation of a social solidarity and crystallizes the message of the resistance through aesthetic pleasure.
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In my paper I wish to prove that the truth of the pictures does not stand in correlation with reality. The picture is not the reflection of everyday things, but a different, truer representation of things. The privilege of pictures stands in their being able to always go beyond themselves. The picture possesses a particular kind of logic, as its delotic logos, that is, its nature of showing the thing itself but from a different perspective as well in the same time, cannot be grasped conceptually or by language translation.
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Søren Kierkegaard existed only through his work, which comprises his literary and philosophical pseudonymous oeuvre, the Journal and the theological bodies of work. When unable to nourish this vivid production anymore, he launched his attack against the church in a periodical called the Instant, an effort he could not sustain for too long. In the midst of the attack he fell violently ill in the street in Copenhagen and died in hospital, without having previously been diagnosed with a serious or fatal illness. On the other hand, his body has always been rendered as a failure, even as a missing element in some passages that reveal symptoms of different kinds of hypochondria. These are due to what he confesses to be an “excess of spirit”, a hyper-spiritual subject that enacted a peculiar melancholic and incorporeal condition. The failing body pertains to the lack of an effective body that could sustain existence and at the same time enforces the solution to the question concerning the unavoidable ek-sistence in anxiety (Heideggerian avant la lettre) by way of an incorporeal body of writing. In this paper I will point out the connections between the function of Kierkegaard's writing as a vehicle for shaping identity and the metaphors of the failing body, using a psychoanalytical approach, while trying at the same time to keep close to Kierkegaard’s own style of allusions and bitter irony as an attempt to save the unique subject by writing.
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In medicine and psychiatry, pain often falls under the term “comorbid disorder”. We will therefore begin with a brief phenomenological analysis of the term “comorbidity”. The emphasis here will not be so much on “morbidity” but on the prefix “co”, more precisely on the fusion between the various forms of morbidity, including the pain itself. I would like to further state that the real thing that comorbidity is concerned with is essentially the interaction between the organic and the psychic, or, generally speaking, that between “body” and “soul”. The prefix “co” can denote at least three possible situations, depending on the respective context: an organic cause with psychological effects, a psychological cause with organic effects, or, a much deeper source of origin, which is both organic as also affects the psychic and thus leaves behind the mere duality of this pair of terms. As we shall see, this last meaning became the source of inspiration for one of the important working hypotheses of phenomenology, which is the reduction of dualisms as body-soul, inside-outside, etc. from the perspective of their common condition of possibility. This hypothesis is shared by both psychoanalysis and the psychoanalytic clinic that emerges from it.
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The purpose of this study is to identify the essence and features of the cosmic nature of religious feelings, their various meanings, which are unfolded in the system of the “Person-Absolute” relationship. The authors reveal the essence of cosmic religious feeling as the experience of unity, the harmony of a person with nature, with the Universe, in which the experience of beauty (aesthetic feelings), sacred (religious feelings), moral (moral feelings), and intellectual (scientific feelings) are combined. In the trinity of religious feelings — immediate experience, manifestation, and comprehension — certain spiritual existential meanings are fixed, which reflect the unity of the human and the Divine, the finite and the infinite. The authors compare such phenomena as “cosmic religious feeling,” “transpersonal experiences,” and “peak experiences” and describes their similarities and differences. Religious feeling is immanently inherent in life-meaning orientation, which is associated with the experience of infinity, immortality, and that is due to socio-cultural realities. Religious feeling “expresses” the desire to go beyond the finite, to establish itself in the infinite, and thereby contribute to the integrity of the personality. It should be noted that these experiences are of great importance for the person, differing in generalization, originality, and relate mainly to the emotional states. The authors conclude that the infinity is inherent in religious feelings, which leads to the presentation of them as a cosmic religious feeling that combines religious, intellectual, and aesthetic features resulting in the formation of cosmic consciousness as a certain worldview strategy.
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The purpose of the work is to reveal the essence of the process of introduction of corporate culture in the system of aesthetic orientation of professional training of TV presenters. The research methodology involves a comprehensive approach with the use of analytical, systematic, and comparative methods, which makes it clear that the ideal of art education needs a meaningful content, creating optimal conditions for corporate culture in the system of aesthetic life of students of higher education and arts. The scientific novelty of the work lies in updating the concept of corporate culture in the context and in connection with the formation of professional training of broadcasters. Conclusions. As a result of the conducted research it is established that in the conditions of creative higher education the implementation of the aesthetic orientation of students' professional training is carried out by forming the personality of the artist with harmoniously combined professional, moral and aesthetic, psychological qualities and is provided with purposeful educational activities. The most important aesthetic qualities in the process of forming the corporate component of aesthetic training of future TV presenters are the following: respect for the history, culture, dignity, ethical ideals of each people; interest in the national language, customs, traditions, as well as feelings of mutual tolerance and delicacy as to the national "other" mentality, spiritual values, and carriers of another culture and opinions that do not coincide with one's own.
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Svako pisanje o Leonardu da Vinciju postavlja problem autoru teksta na koji način i kako pokušati obuhvatiti složenost kreativne ličnosti ovog renesansnog genija. Mnogostrukost profila njegove stvaralačke prirode izmiče mogućnostima da sejasnim konturama izrazi ta složenost umjetnika i znanstvenika, estetičara i matematičara, anatoma i pronalazače, pisca i astronoma, arhitekta i scenografa, skulptora i botaničara, geologa i aeronautičara... »Složeniji i tajanstveniji karakter od njegovog nije postojao - ističe Kenett Clark - i svaki pokušaj uprošćavanja bio bi suprotan svoj aktivnosti njegove misli«. Ugledni engleski likovni kritičar zaključuje kako se Leonardov lik »mijenja kao oblak« i Da Vincija vidi kao »Hamleta povijesti umjetnosti, koga svatko od nas za sebe mora ponovo stvarati«.
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Ovaj esej o likovnoj umjetnosti i fizici proizišao je iz potrebe da razumijem zašto su neka umjetnička djela remek-djela, a druga nisu. Čitajući knjige iz povijesti umjetnosti, kroz diskurs fizičara, primijetio sam da postoji veza između likovne umjetnosti i fizike, koja nije baš tako očita i koju nije baš jednostavno raspetljati. Osnovna je teza koja se provlači kroz ovo promišljanje o isprepletenosti fizike i umjetnosti: znanost definira duh vremena (»zeitgeist«) određene epohe, dok ga umjetnost interpretira, propituje i holistički sublimira u umjetničkom djelu. To djelo odražava narativ određenog povijesnog razdoblja, naravno često puta propituje i ruga se aktualnom ili nametnutom narativu, i tako potiče stvaranje drugačijeg, novog načina promišljanja i doživljavanja svijeta.
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The article is an anthropological reflexion over the activities that are connected with exhib-iting in the art galleries the art created in the ecological and/or posthumanist world vision. Exhibiting such works constitutes the gesture of outlawing a certain system of qualifica-tion based on anthropocentricism and is a challenge to social idea of taste. The exhibition becomes the place of constructing an aesthetic world, the main paradigm of which is no longer defined by the opposition nature / culture. This is how the “third realm” is created: connecting the culturally constituted contradiction of nature and culture, and that realm makes the synthesis- natureculture, where the place of opposition is taken by ecological relation of biological and social factors.
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The aim of this paper is to offer a provisional, though coherent overview of the different phenomenal aspects of lust (dan. Lyst) with respect to the three existential stages stated by Kierkegaard. It proceeds in four steps: first, Kierkegaard’s concept of anxiety and its relation to personal freedom is introduced as background for the question of how lust comes about in the individual. Second, it exposes the aesthetic character of lust, consisting in the fulfilment of a multitude of desires rather than in any of their specific objects themselves. A third step reconstructs the main critique of the hedonistic ‚view of life’ as articulated from the ethical standpoint. The dialectic of religious joy as an intentional suffering for a higher form of fulfilment is being analyzed in the final step.
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This paper investigates the involvement of the flesh in the contemplation of depictive images. Against the apparent disincarnation of the gaze in front of such images, we argue that the phenomenalisation of the depicted world implies not only the empirical body but that diving into an image awakens a bodily dimension proper to phantasy. Our point of departure is the contrast between the functioning of the body in the experience of the objective world and its role in the constitution of the place of the image in the empirical space. The image opens up on a different space, a space of unreality in the space of reality that modifies the way I inhabit my body. In a second step, we show, in a Husserlian context, that the spatialising function of my body is maintained – to some extent – even in the world of the image. This matter of fact calls for the thematisation of kinestheses in phantasy. In the third part, we show that kinestheses related to the contemplative gaze, besides being related to possible positions, also have a tempo and a rhythm that reveal a dimension of kinestheses that transcends the apparent cleavage between the real and the imaginary.
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