Should Justice be blind or should she instead be capable of seeing everything, even the human heart? José M. González García examines how the iconography of Justice evolved over the course of history. Providing an overview of depictions of Justice in various ages and places, the book mainly focuses on "The Blindfold Dispute" that began to develop during Renaissance. While at first the blindfold was perceived as unjust, precisely because it denied Justice the ability to see everything, it transformed (...) just a few years later into a positive symbol of the equality of all individuals before the law. And other depictions were added: supplementary eyes, transparent blindfolds, the double face of Janus, the returns of Astraea and the "Eye of the Law". The book also analyses important historic moments in which the crisis of the Law went along with a search for new forms of representing the gaze of Justice, as reflections on the art of Dürer, Klimt and Kafka show as well as recent developments in political philosophy"--Back cover. (shrink)

An exploration of issues of vision, blindness, self-representation, and their relation to drawing, which offers detailed readings of a collection of images from the prints and drawings department of the Louvre. The works under consideration depict blindness--fictional, historical, and biblical.

Este ensayo investiga el discurso global a la sombra de la década de 1960. Se basa en los puntos de vista de Nelson Goodman, Marshall McLuhan y Theodor W. Adorno para explorar tres conceptos centrales para la música en la época de la transmisión global: concordancia, corriente y virtualidad.

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration of the (...) Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

In order to better understand the conditions of the twenty-first century Raphael Sassower and Louis Cicotello revisit the twentieth century in Political Blind Spots: Reading the Ideology of Images. Sassower and Cicotello revisit some of the most significant periods in art and politics in the twentieth century paying close attention to the relationship between aesthetics and politics.

Recognizing yourself in literature cannot only help you to get a clearer grasp of what you already think and feel. It can also deeply unsettle your vision of yourself. This article examines a hitherto neglected mechanism to this effect: learning by way of seeing yourself in others’ blindness. I show that In Search of Lost Time epitomizes this phenomenon. Confronting characters oblivious to their old age makes the protagonist realize that he, too, has aged without noticing it, and invites readers (...) to analogous insights. The paper contributes to the discussion on how you can learn from literature and adds a twist to Proust’s claim that the purpose of literature is that readers recognize themselves in it. (shrink)

For Georg Simmel, humans confront their basic contradiction in the city, and such contradiction warrants critical assessment to help in the long tradition of articulating the problematic development of cities or metropolises, and hopefully advocate for the kind of life we want. This contradiction is a corollary to the modern visual aesthetics of young, contemporary artists such as Iza Caparas, Farley del Rosario and Daniel Aligaen. Their works not only depict the city or urban living; also their styles or sense (...) of aesthetics are informed on a larger scale by the geopolitics of the ’70s up to the present, the influence of the early modernist artists, and their own estimation as well of what is happening in the country. This paper uses visual impairment or blindness as a trope for modernist aesthetics. The contradiction of city life produces this particular problematic vision that is then appropriated by these young painters. In this paper I am guided by three important questions: How do I understand the city and its contradictions? How is the city depicted in the paintings of young contemporary artists? How do I talk about modernist paintings and aesthetics in terms of the dynamics of city or urban life? (shrink)

This article proposes the concept of blind visuality as a response to the injunction to look differently at both visual images, and vision itself, posed by Bruce Horak’s exhibition Through a Tired Eye. The brightly colored impressionistic paintings suggest an artist who revels in the domain of the visual, yet he describes his practice as a representation of blindness. This accessible exposition of blind visuality speaks to the broad question of what critical disability arts contribute to discourses about (...) vision, visuality and spectatorship in the arts. I analyze Horak’s paintings as examples of blind epistemology and haptic visuality, showing that this work evokes a way of seeing that blurs the boundaries between vision and embodied feeling. I argue that by expanding understandings of vision and multi-sensory knowledge, deconstructing the separation between vision and haptic perception, and challenging western ocularcentricism, blind visuality poses an alternative economy of looking that reflects disability aesthetics, shifts from individualism to relationality, and challenges understandings of perception/knowledge as a form of mastery. (shrink)

Painting, seeing, concepts -- Gone, missing -- Arshile's heel, Gorky's line -- You are here and not here: the concept of conceptual art -- Moving pictures & memory -- The doubling of death in the films of Michael Haneke -- Yep, Gaston's gay: Disney and the beauty of a beastly love -- And say the zombie responded -- Other animal others -- The man who mistook his meal for a hot dog -- Rachel Rosenthal was an animal -- Laughing beyond (...) modernity -- It's just a bunch of stuff that happened -- Quantum Andy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, (...) he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. (shrink)

The embargo on touching in museums is increasingly being brought into question, not least by blind activists who are calling for greater access to collections. The provision of opportunities to touch could be read as a potential conflict between established optic knowledge and illicit haptic experience, between the conservation of objects and access to collections. Instead I suggest that touch is not necessarily other to the museum; rather, the status of who does the touching and knowing is crucial and (...) not the use of touch per se. It is expert territory and vested academic interests that are at stake here. Using Bruno Latour’s (1993) conceptions of hybrid networks and purified zones of academic practice, I then explore what the unacknowledged existence of touch means for museums and for notions of authority more generally. I suggest that if the apparent boundaries of disciplines are unconvincing in practice, then the possibility of expert knowledge is seriously undermined. Blind people’s demand for access through touch is not then a challenge of one paradigm to another but implicitly questions the accreditation of authority itself. As such it forms part of a wider institutional shift with regard to expertise and an increased need for negotiating between different conceptual frameworks. The ocularcentric bias of museums is increasingly being questioned by blind and visually impaired visitors who emphasize touch as a learning and aesthetic experience. This challenge is contentious not least because it ostensibly brings the individuals’ rights of access into direct conflict with museum conservation. I argue that concerns over conservation can, however, mask and serve to legitimate preconceptions about who should have access to collections; what counts as damage or dirt; and the means by which art and artefacts can be understood or enjoyed. It is expertise rather than the conservation of objects which is at stake. This article suggests that in campaigning for access through touch, blind people physically move beyond the barriers which reserve contact for the museum elite and simultaneously establish the viability of learning in a way that is not sanctioned by the art historical community. Thus resistance to touch in museums is not so much a concern for preservation as a defence of territory and expertise. (shrink)

Only rarely does life imitate art in the starkness and directness of its message. When that message is a tragic one the effect becomes indelible. Such was the impact on Peru of the events of Uchuraccay, a small village located in its central highlands. Peru’s Truth and Reconciliation Commission called it “an emblematic referent of the violence and pain in the collective memory of the country” (TRC, 121). [i] In the twenty-year turmoil that engulfed Peru at the end of the (...) last century, 69280 violent deaths were recorded. What makes Uchuraccay emblematic of this carnage is not just its own destruction; it is the web of misunderstandings that entangled the participants. On January 23, 1983, eight journalists from Lima were caught in this web. Mistaken for terrorists, they and their guide were attacked by the natives of the village. Remarkably, one of the journalists left a photographic record of their slaughter. There also exists a photograph of the bodies of the journalists after they were exhumed a few days later. In it, their eyeless sockets are clearly evident.[ii] When I saw the photo in Lima, it reminded me of the moment in Greek tragedy that is called “recognition.” This is the point when the veil of illusion is stripped from the characters. The most striking example of this is Oedipus’ appearance after he has blinded himself. In his eyeless state, the audience recognizes his previous blindness to his unnatural condition. This moment of recognition is a public exhibition. It is a disclosure of the way things actually were during the events depicted. In what follows, I am going to take this final image of the journalists as a disclosure of the communal blindness that engulfed Peru. My aim is to relate this blindness to the violence that was its tragic correlate. (shrink)

The aim of this paper is to determine what a philosophical approach, the one that Jacques Derrida uses on blindness in his Memoirs of the Blind, can bring to Cultural Disability Studies. Using some of the paintings and drawings reproduced in this 1990 work, the present study first intends to show that, for Derrida, it is a particular way of considering the mutism of visual art works that leads to seeing or imagining, in those that show blind people, (...) representations of blindness that have in common to make it a powerlessness. This paper then analyses how, for the philosopher, these same works can be approached by virtue of a second way of considering their mutism, and thus read as giving rise to the idea of a completely different kind of blindness, understood this time as a power that is highly resistant to the narratives that, in history, have made it an powerlessness. Finally, he proposes to complement this way of reading pictorial images of blindness with Stiker’s theorized “Reversal scheme” and the “neo-historicism” applied by Snyder and Mitchell to artistic representations of disability. (shrink)

_Sustaining Loss_ explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the work (...) of art is the haunting of the present by the endless suffering of what is dead but still has claims over the living. The book asserts that modern aesthetics holds the key to unlocking the tortured relation of modernity to the past it is perpetually leaving behind. As the capacity to withstand the inescapable force of a past that is dead for us becomes the supreme test for a fully modern, fully secular philosophy, aesthetics moves to the center of philosophical reflection. But, the author argues, this secular philosophical orientation can be sustained only if aesthetic theory remains oriented by intimate contact with modernist works of art. _Sustaining Loss_ examines not only Kant, Hegel, and Freud, but also the contemporary artists Gerhard Richter and Ilya Kabakov, whose art turns fruitfully against art's own past. To live as a modern, the author asserts, is to live with the dead past that modernist art ceaselessly disgorges. Overall, the book aims to articulate an aesthetic theory suitable to the task of living in a time when, in Flannery O'Connor's words, "The blind don't see and the lame don't walk, and what's dead stays that way.". (shrink)

Amidst the surge in AI-oriented commercial ventures, music is a site of intensive efforts to innovate. A number of companies are seeking to apply AI to music production and consumption, and amongst them several are seeking to reinvent the music listening experience as adaptive, interactive, functional and infinitely generative. These are bold objectives, having no clear roadmap for what designs, technologies and use cases, if any, will be successful. Thus each company relies on speculative product visions. Through four case studies (...) of such companies, I consider how product visions must carefully provide a clear plan for developers and investors, whilst also remaining open to agile user-centred product development strategies, which I discuss in terms of the ‘blind search’ nature of innovation. I suggest that innovation in this area needs to be understood in terms of technological emergence, which is neither technologically determinist nor driven entirely by the visions of founders, but through a complex of interacting forces. I also consider, through these cases, how, through the accumulation of residual value, all such start-up work risks being exapted for more familiar extractive capitalist agendas under the general process that Doctorow calls “enshittification”. Lastly, I consider a number of other more specific ways in which these projects, if their growth is achieved, could influence music culture more broadly. (shrink)

In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself (...) class='Hi'>blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing with another. Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. _Memoirs of the Blind_ is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's _Lettres sur les aveugles_, the notion of mnemonic art in Baudelaire's _The Painter of Modern _ _Life_, and Merleau-Ponty's _The Visible and the _ _Invisible_. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, _Memoirs of the Blind_ extends and deepens the meditation on vision and painting presented in _Truth and _ _Painting_. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts. (shrink)

The author analyses the design of her collaborative animation about inattention blindness, the phenomenon of not being able to see things that are actually there, and compares it to related scientific research.1 The term was coined by Arien Mack and Irvin Rock in 1992. Stealing Attention, co-created by the author and neuroscientist Michael E. Goldberg, Director of the Mahoney Center for Brain and Behavior at Columbia University, explored inattention blindness. Animated images of hands playing the con game Three-Card Monte were (...) superimposed over images of antiquities stolen from Iraq. The flashing cards, yellow circles and stated instructions distracted the viewer from seeing the images of stolen antiquities, which disappeared from depicted shelves one by one over the time span of approximately three minutes. The author considers five questions: What is perceived without attention What does attention select Under what circumstances can attention be shifted Is an observer trained in art less likely to be distracted Can attention be trained. (shrink)

From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...) invention of the public -- The boulevards of the inner city -- Park fiction : desire, resistance, and complicity -- A culture of needles : project row houses in Houston. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 22-36 [Access article in PDF] Art or Nature?Aristotle, Restoration Ecology, and Flowforms Trish Glazebrook He to whom nature begins to reveal her open secrets will feel an irresistible yearning for her most worthy interpreter: Art. 1Aristotle believed strongly in a distinction between artifact (technê) and nature (physis). He intended by "technê" more than is generally understood by the contemporary term "art," for he (...) meant anything produced by human intention. For example, for Aristotle medicine was technê in that the doctor produces health. The key point in distinguishing art from nature for him was that things in nature grow and develop on the basis of an internal principle of change, whereas artistic production requires an outside agent. There are some complications with the Aristotelian account: are the spider's web and the bird's nest art or nature? Aristotle can respond to this problem easily enough by arguing that spiders and birds create on the basis of instinct, while reason is requisite for artistic production. Yet some art may not meet this definition: artists may not always have a full conception of the work to be produced prior to its execution. Creativity can be emergent rather than intentional during the productive process, and may arise, for example, from the artist's interaction with the chosen material. [End Page 22]Despite these objections to the Aristotelian distinction, however, his analysis of the differences between art and nature can be usefully applied to recent debates in restoration ecology in order to argue that the human capacity to restore nature does not justify its destruction. Nature cannot be "faked," that is, recreated through art. Furthermore, the Aristotelian analysis has been influential historically by providing a conceptual basis for the technological domination of nature, as if nature were nothing more than matter upon which form can be imposed. Yet there are alternative possibilities in Aristotle's account that ecologically-minded art can bring to fruition. I will use Aristotle's analysis to suggest a potential resolution of the "faking nature" debate, and accordingly to show how contemporary, ecologically-minded art can promote an ideology of production that works with rather than against nature.Robert Elliot argues that restoration ecology does not justify environmental destruction, because faked nature (that is, nature re-created by human artifice) is not as valuable as the original. 2 I will call this claim, which is based on the idea that restoration is analogous to artistic production, "the Elliot view." I will first assess the Elliot view, and give reasons why I sympathize with his conclusions, yet find his arguments unconvincing. Second, I will present Aristotle's distinction between nature and art, with emphasis on his arguments that nature is goal-directed, in order to give content to the claim that nature has intrinsic value. Third, I will look at restoration policies and practices in the oil industry in Alberta, Canada, to establish a praxical notion of restoration, and to support Elliot's claim that nature cannot be faked. I have chosen oilfield restoration as a working example for the sake of the general methodological principle that praxes without reflections are blind, while reflections that transcend the lifeworld are empty; and specifically because Alberta leads the industry in restoration standards and practices. Finally, I will use Flowforms to argue that ecologically-minded art can demonstrate how production of artifacts need not affirm a logic of domination, but rather can open a space for an alternative conception of the human relation to nature. The Elliot View Elliot's view depends on distinguishing nature from art, and attributing a greater value to the natural. On what basis should we accept this value-hierarchy? The reasons Elliot gives are less than convincing. Ultimately his arguments rest on two points: that copies are not as good as [End Page 23] originals; and that even if an ecosystem's value could be fully restored, the value lost in the time between despoilation and restoration is irrecoverable. He simply finds "naturalness" to be more valuable than artifice. But he is not alone in... (shrink)

This article analyses Camille Henrot’s 2013 film Grosse Fatigue in relation to the histories of hypermedia and modes of interaction with the World Wide Web. It considers the development of non-hierarchical systems for the organisation of information, and uses Grosse Fatigue to draw comparisons between the Web, the natural history museum and the archive. At stake in focusing on the way in which information is organised through hypermedia is the question of subjectivity, and this article argues that such systems are (...) made ‘user-friendly’ by appearing to accommodate intuitive processes of information retrieval, reflecting the subject back to itself as autonomous. This produces an ideology of individualism which belies the forms of heteronomy that in fact shape and structure access to information online in significant ways. At the heart of this argument is an attention to the visual, and the significance of art as an immanent mode of analysis. Through the themes of transparency and opacity, and order and chaos, the article thus proposes a defining dynamic between autonomy and automation as a model for understanding the contemporary subject. (shrink)

How many citizens take part in moral and political decisions concerning the results obtained by the contemporary life sciences? Should they blindly follow skilled demagogues or false and deceptive leaders? Should they adhere to the voice of the majority, or should they take a different decisional path? Deliberative democracy answers these questions, but what is deliberative democracy? Can we really deliberate if we are completely ignorant of the relevant issue? What about ethical or political expertise, is it strictly necessary? Finally, (...) and most significantly, can a deliberative process take place if we ignore the techniques governing it; that is, the techniques required to be minimally skilled in rational argumentation? Giovanni Boniolo goes back to the historical and theoretical foundations of deliberation showing us, with some irony, that deliberation is a matter of competence, and not just a matter of a right to decide. His conclusion might not delight everyone: “anyone who is not sufficiently acquainted with the subject matter or lacks the sufficient deliberative competence ought not be admitted to deliberative discussions. This restriction makes both good deliberation and a proper deliberative democracy possible, otherwise debate degenerates into demagogy and hypocrisy”. (shrink)

This paper looks at the tragedy of Qiao Feng in Jin Yong’s The Demi-Gods and the Semi-Devils. While it is common practice for Žižekean scholars to examine genre writing and popular culture with Lacanian theory, the martial arts genre has received little attention. In Demi-Gods, Qiao Feng experiences an ‘identity crisis’ at the peak of his career: rumour has it that though he was raised and trained in China, he was born a Khitan. Qiao Feng at first believes it is (...) a just conspiracy, and henceforth is blind-sided by the imaginary relation between his ego and small others. He mis-recognises others’ scheming as ‘the Other of the Other,’ while his supposedly deceased Khitan father occupies the corner of the Other in the schema L to orchestra the manipulation game. However, what Qiao Feng is really under prey is the desire of the father, and of the two fatherlands, one Han-Chinese, one Khitan: his tragedy lies in the split of the national Other, in the impossibility of the ethical imperative Your duty is to be loyal to your country. And yet, it is exactly because of the emptiness in the ethical call that Qiao Feng can start to act as a subject, a subject that is by definition already always split. This paper thus interprets the actions of Jin Yong’s hero according to Lacan’s schema L, and also provides variations of the schema based on the twists and turns of this martial arts tragedy. (shrink)

The article considers a pressing problem in the field of inclusive education: creating a comfortable learning environment for the effective education of children with special needs. In this article, a mobile electronic alphabet Braille simulator is an element of the learning environment for children with special needs. The article describes an experiment on teaching visually impaired and blind children using a mobile electronic Braille alphabet simulator. The mobile electronic Braille alphabet trainer, based on new advanced technology, was developed by (...) Kazakh scientist-inventor Galimzhan Gabdreshov under the brand of his company SEZUAL. It was developed to reduce the time that blind children need to learn to read. The relevance of the study lies in the need to educate visually impaired and blind children through the introduction of modern technologies. Children entering primary, mainstream and special needs schools have been learning Braille for several years with varying degrees of success. The article shows the result of an experiment on teaching children using an electronic Braille alphabet simulator and without this simulator. The experiment showed the benefits of teaching blind children using a Braille simulator. An experimental study on the implementation of the SEZUAL electronic alphabet simulator with Braille was carried out in schools for the blind in the cities of Atyrau and Astana. A way to improve a mobile electronic alphabet Braille simulator is to make a simultaneous sound signal when a child presses the keys of the Braille simulator, with different Braille characters. To enhance the impact on the associative zone of the cerebral cortex, in the Braille simulator, sound signals of each key are added to the touch keys, which, like visual signals, are processed by the associative zone of the cerebral cortex and help to consolidate the perception of the simulator keys. This article describes in detail an experiment on the assimilation of educational material by blind and visually impaired children using a combination of parameters of sensorimotor and auditory perception of children. To clarify the peculiarities of the perception of blind and visually impaired respondents, their leading representative systems and modalities were identified before the experiment. The test was conducted based on the educational institution Atyrau Regional School for Gifted Children, Republic of Kazakhstan. (shrink)

Inter- and transdisciplinary (ITD) approaches represent promising ways to address complex global challenges, such as climate change. Importantly, arts–sciences collaborations as a form of inter and transdisciplinarity have been widely recognized as potential catalysts for scientific development and social change towards sustainability. However, little attention has been paid to the process of reasoning among the participants in such collaborations. How do participants in arts–science collaboration reason together to overcome disciplinary boundaries and to co-create interventions? This article investigates how inter- and (...) transdisciplinary reasoning (or ITD reasoning) unfolded in a collaboration involving experts from the natural sciences, humanities, and the arts. We studied how collaborators reasoned through different understandings and experiences of climate change as well as through multiple ways of fostering motivation to take action via two co-designed artworks, HOMONEXUS (a participatory textile and acoustic installation) and GLACIER NEX US (a performance staging a dialogue between a melting glacier and a glaciologist). Our conclusions are threefold: (i) ITD reasoning can increase participants’ capacity to navigate often-unpredictable situations by cross-fertilizing ideas and overcoming blind-spots; (ii) humanities in arts–science collaborations can foster a more nuanced understanding of the differences and similarities of different knowledge systems as well as a deeper ecological understanding of sustainability problems; and (iii) the aesthetic experiences stimulated by arts–science interventions may help to raise awareness about the climate emergency and sustainable actions by providing pleasant and positive or dazzling and negative aesthetic experiences. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * "… to sleep perchance to dream " 1 To dream: to be not quite asleep, yet not particularly awake. Or, rather: to be awake but not quite know it. For, it is only when we dream, when we are dreaming, that we know that we are not in that final sleep. But we can only know that we are dreaming, that we have dreamt, when we are awake, when we have awoken; after it is too late. When all we know is that the sleep beyond finitude, the sleep that is the step beyond, is not yet upon us, is only to come. To die to sleep … To dream: a sleep that refuses sleep. Perchance to dream: to drift—between sleep and sleep. Aye there's the rub For, can we even know if we have been sleeping? Or, if death has claimed us?—even if a little death. α Ω α Ω α Ω To drift: but from, to, what? For, to drift implies a certain direction that one was headed from, heading to, headed for; without these indications, markers, points in relation with each other, one would just be moving. Can one know—intend—one's drift? Certainly a stunt driver would say so. But even as (s)he is starting her slide, all that (s)he can know is that she is setting the car, herself, the car with herself in it, in motion: after which the drift itself takes over. After which, all (s)he can do is attend to it. At the point of the drift: both (s)he and the car are drifting—here, one might not even be able to separate the movement from those involved in it. Without either of them, there would not be a drift; there is no drifting without the drifter. Both the drifter and the drifting are in a relationality; in which, all that they can know is that they are in relation with each other. Hence, the drift itself is a relationality. A non-essence. But, it is not as if we cannot speak of it. Perhaps though: we can only speak of it as if we can speak of it. Always already an imaginary gesture; where what is being imagined is the relationality between the drift and the ones drifting. Thus, we have a situation where the drifter and drifting are in a relationality; where relationality itself is what is being imagined. Perhaps then, what are we drifting from, to? , is a moot question. As is, what is drifting? Perhaps then, all we can say is drift? To speak of drift is an attempt to speak of the unspeakable. Not that what is speakable and what is unspeakable are antonyms: if that were so, speaking the unspeakable would make no sense, be a contradiction. But that in every act of speaking, something unspeakable is potentially said: something that opens, ruptures, wounds even. And not just that—at the point where it punctures, speaking itself moves out of the way for the unspeakable; speaking itself disappears. "… the whole art is to know how to disappear before dying, and instead of dying. " 2 To disappear; or, to drift out of sight. Where the words themselves slip away. After all: "in the Beginning was the Word. It was only afterwards that Silence came." Perhaps the wish, the hope, is that "the end itself has disappeared …" (Baudrillard, 70) Remaining hidden from us. Perhaps only glimpsed when we dream. Secret. α Ω α Ω α Ω " Bury all your secrets in my skin " (Corey Taylor) Which is the problem: words cling. And they remain. Perhaps not ontologically; but they certainly remain to haunt us. And here, we should not forget Lucretius' lesson that communication occurs in the skin between the parties in communion with each other. Which is not to say that the encounter is determined by atoms—and more precisely atoms that move in straight lines until they collide with each other—that communication is pre-determined. For, one must not forget that will is found, discovered, enacted even, at the moment the atoms swerve. Clinamen . Drift. But even in their movement—drifting—they trace themselves into the skin between; a tangential touching. Perhaps only briefly. But even then, enough … "… there's always texture that betrays the place." (May Ee Wong) Here though, one must not forget that betrayal cannot happen in the absence of love. In fact, betrayal is the very excess of love: where one loves the other so much that one can no longer bear to see the other drift from what (s)he could have been. Whether that idealised other exists or is only in one's head is another question altogether. Perhaps, a fetishised other: keeping in mind that "fetishes are hinged around simulation." After all, "when one is supposed to show up as an oil rig diver no one is expecting actual crude oil" (Amanda Sordes); in fact, actualisation is the perfect way to destroy the fantasy. Perhaps then, the only way to maintain love for another is to maintain a proper distance, as it were, from love: allow the love to constantly alter, change. And here, one must not forget that if love is a relationality between one and another who remains wholly other (otherwise just a mere manifestation of the self), love is a relationality that knows nothing except for the fact that it is in a relation. For, to love one has to attend to—without subsuming another, some other, under oneself. Which means that to love, one has to be willing to risk, to open oneself, to allow oneself to be wounded, torn apart. In new ways, ways that we have yet to understand, come across, ways we do not yet have a name for. Thus, this movement in love is one that occurs in utter blindness; to not only the other, but to what love is. This is love as pure drifting. Perhaps always searching for love itself, without ever knowing what it is that it is looking for. Love: only at the very moment when the word love itself disappears. Perhaps all we can do is sit, and attend: watching the tides flowing away—as if they were having their "last swim of the summer." (Hendrik Speck) Like a butterfly. α Ω α Ω α Ω Isn't it quite amazing how the appearance of a butterfly can inject a stutter or pause into any conversation? Words and words pour out of the animals in assembly, before they are all of a sudden arrested by the passing flight. Heads turn to trace a lilting poetics, attempting to close the distance with this seemingly awkward beauty. There are no straight lines here, only a relative arrival and departure to bracket a brilliant and bewildering trajectory, surging and lurching in a vibrating and nomadic line avant la lettre. (Sean Smith, 'I Seek You: Countdown to Stereoscopic Tear') Before the letter. Before the possibility of naming. Before being sayable. Quite possibly also before language. And yet, a "surging and lurching," a movement with an effect—"vibrating and nomadic"—tracing itself before there is even anything to trace. Leaving something, even if that thing remains unknowable, for us to attend to. Drifting into us. I had some dreams they were clouds in my coffee, clouds in my coffee..." (Carly Simon) NOTES William Shakespeare, Hamlet , Act 3 Scene 1. Jean Baudrillard, Why hasn't everything already disappeared? , 25.  . (shrink)

Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of (...) the Australian sun, and suggests that too much light may in fact reveal nothing. Finally she asks: how does an embodied practice fare within the culture of conceptual art? (shrink)

Neither art criticism nor a scholar’s monograph on an artist, Jean-François Lyotard’s Sam Francis: Lesson of Darkness: ‘like the paintings of a blind man’ is a reflection that engages both the painter and 43 of his works into a conversation alternating painting and aphoristic writing. Their order follows neither the chronology of the works nor a linear argument in the prose. And yet, the work generates the strongest feeling of there being a continuity in this peculiar dialogue of pictures (...) and poeticism, a continuity not clearly presented by logic, but one concerning what remains unpresented in presentation. The conversation is revelatory of their shared concerns with the energetic force of absence and is fascinating. (shrink)

"Lest one think that the focus on aspect-seeing in Wittgenstein is only a means to more contemporary philosophical ends, one ought to read Day’s remarkable 'Wanting to Say Something: Aspect-Blindness and Language'. Day considers the issue of aspect-blindness, arguing that universal aspect-blindness is impossible for beings with language. Specifically, he shows that a child’s first attempt at language, at trying “bloh” for “ball,” is neither an indication that the child sees the ball for the first time, nor an indication that (...) the child is giving a first label for an object seen all along. Rather, he shows that this attempt is an indication of the dawning of an aspect. The dawning of aspects, so common during the phase of language acquisition, becomes supplanted by language itself. Universal aspect-blindness is not humanly possible, then. Day argues that the acquisition of language results in a loss of desire for aspects (which it is possible to regain through art). Localized aspect-blindness is familiar because as language-users, we have lost our desire for aspects. Day then turns to questions about the deep purpose behind Wittgenstein’s style. Why are those doubting voices prominent? Why does Wittgenstein demand so often that the reader answer his questions? Day shows that these elements of Wittgenstein’s style arise from a motivation to regain his own desire for aspects, and he wants to re-awaken our own desire for aspects. Day motivates us to consider aspect-seeing in order to see Wittgenstein himself anew." --Chris Weigel, Book Review of Seeing Wittgenstein Anew, Journal of the History of Philosophy 49:2 (April 2011): 263. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's vision (...) -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories in mid-twentieth-century America. An unexpected (...) outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew. (shrink)

The historical period of the 18th and early 19th century is usually perceived as the high point of human self-emancipatory optimism. Specifically, the Enlightenment believed that reason would guide humanity from darkness to the light. Ay, there's the rub, so rhymes the Bard of Avon, for wherefrom arriveth the urge to flee the dark? The rationalist propensity to remodel and re-invent the world is testament to a dreary and pessimistic analysis of the human condition. Thus, the Enlightenment made a largely (...) self-content analysis of the natural, traditional and historical condition of humanity which suggested that underneath its emancipatory, rationalist optimism lurks an unspoken perspective on reality that, in the verse of Alexander Pope, on weak wings, from far, pursues [its] flights. In this dissertation, I have called that perspective the horror of existence : the tacit acknowledgment that whatever is naturally and historically presented to the human agent is to be treated with suspicion. Nietzsche even declared such squinty eyes part and parcel of the bad blood of Western metaphysics in its ignoble resentment towards the vitalistic full-bloodedness of existence. Immanuel Kant and Arthur Schopenhauer are the protagonists in the investigation into the pessimistic focal point that looms underneath the Enlightenment s alleged optimism. Three points of inquiry are central to unravelling this pessimism. First, it is to be established that Immanuel Kant the proverbial vanguard of the Aufklärung actually subscribed to a sense of pessimism. Virtuous duty is the code word of Kant s ethics: to act in a fashion in opposition to certain countermoral inclinations. While Kant calls such behavior autonomy in the supposed fullest sense of the term, such autonomy is lacking in appeal in comparison to the pursuit of happiness. If rational morality is left unassisted, it remains in the perennial danger of being ineffective. The human agent is ill-disposed towards the moral law and radically inclined to overturn the moral world order. Accordingly, Kant turns to certain religious tools to bestow a kind of moral education that would augment the appeal of morality without ever making the human agent in any way inclined to moral virtue. At best, the human agent is justified in his/her rational faith to moral progress. In sum, while Kant believed that immanent rationality is the appropriate guide for moral pursuits, it is lacking in appeal to the finite and frail human agent. Second, it is to be shown that Schopenhauer s more overtly pessimistic philosophy is a continuation of a certain philosophical impetus at work in Kant s philosophy. After Schopenhauer questions the irresistible appeal of rationality, he finds that the Kantian recalcitrance to morality could very well be understood as self-justified self-expression of a blind, amoral will. Since even Kant admitted that rationality lacks in appeal to draw humanity in line, why would rationality be the most intimate aspect of noumenal reality? Instead, the human agent is mired in a depravity from which only his/her own frail and quasi-powerless tools can facilitate an escape. Accordingly, an ethics of compassion, a sublime piece of art, a pessimistic religion and proper philosophical insight can facilitate an escape from reality and turn the human agent to blissful nothingness. Third, it is to be shown that Kant and Schopenhauer s specific sense of pessimism is a philosophical translation of a certain theological perspective on the interplay between nature and goodness. Instead of thinking about nature and good as on a continuum, the Protestant Reformation introduced a radical dualism between nature and goodness which requires nature to be radically reformatted. No good is to come from the exercise of nature: works do not justify. Similarly, Kant and Schopenhauer reiterate how a radical change in the normal behavior of the human agent is the only escape from his/her depraved condition. But how do you fuel a quest for health if that which would do the healing is diseased to its core? (shrink)

In a wide-ranging, provocative anatomy of modern society and its origins, novelist and historian John Ralston Saul explores the reason for our deepening sense of crisis and confusion. Throughout the Western world we talk endlessly of individual freedom, yet Saul shows that there has never before been such pressure for conformity. Our business leaders describe themselves as capitalists, yet most are corporate employees and financial speculators. We are obsessed with competition, yet the single largest item of international trade is a (...) subsidized market in armaments. We call our governments democracies, yet few of us participate in politics. We complain about "invasive government," yet our legal, educational, financial, social, cultural and legislative systems are breaking down. While most observers view these problems separately, Saul demonstrates that they are largely manifestations of our blind faith in the value of reason. Over the last 400 years, our "rational elites" have gradually instituted reforms in every phase of social life. But Saul shows that they have also been responsible for most of the difficulties and violence of the same period. This paradox arises from a simple truth which our elites deny: far from being a moral force, reason is no more than an administrative method. Their denial has helped to turn the modern West into a vast, incomprehensible, directionless machine, run by process-minded experts - "Voltaire's bastards"--Whose cult of scientific management is bereft of both sense and morality. Whether in politics, art, business, the military, entertainment, science, finance, academia or journalism, these experts share the same outlook and methods. The result, Saul maintains, is a civilization of immense technological power whose peoples increasingly dwell in a world of illusion. Already known to millions of readers as the author of novels which portray the overwhelming effects of this power on the modern individual by weaving together international finance, the oil and arms business, guerrilla warfare, drug traffic, and the world of art, here Saul lays aside the mask of fiction to speak in his own voice. Only by withdrawing from our addiction to "solutions," he argues, reclaiming the citizens' right to question and participate in public life, and recovering a common sense capacity for intelligent panic, can we find a way out of our permanent crisis. (shrink)

The ArgumentThe article deals with the interrelation between Galileo and the visual arts. It presents a couple of drawings from the hand of Galileo and confronts them with Viviani's report that Galileo had not only wanted to become an artist in his youth but stayed close to the field of visual arts throughout his lifetime. In the ambiance of these drawings the famous moon watercolors are not in the dark. They represent a very acute and reasonable tool to convince the (...) people who trusted images more than words. The article ends with Panofsky's argument that it was Galileo's anti-Mannerist notion of art that evoked a repulsion of Kepler's ellipses. It tries to show that it was again an aesthetical prejudice that hindered Einstein from accepting Panofsky's theory. (shrink)

In this paper I raise awareness of a crucial blind spot in scholarship on the Christian-Jewish dialogue. The main argument of the paper is that a closer examination of the dialogue form is necessary in order to assess the tenability of Christian-Jewish dialogue. Despite the widespread talk and intensive scholarship about the Jewish-Christian dialogue two things remain unclear: what concept of dialogue is presupposed; what makes the dialogue form appropriate for the Christian-Jewish encounter. This paper discusses the possibility that (...) the use of the dialogue form is a means of theological imperialism. I both rule out this possibility and propose an argument to justify the tenability of Jewish-Christian dialogue that I defend against objections which follow from Richard Swinburne’s Christian philosophy of revelation. (shrink)

[Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other -- an unconditional relation, and thus a relation to no fixed object (...) of relation. The first reading by Jeremy Fernando, "Blind Reading," unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy's image archive. They are on the one hand simply a selection of 'impartial pictures' taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear -- crossing that borderless realm between 'some' and 'some-thing.' Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. (shrink)

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. (...) The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavored to form, yet did not bring about”. For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature”, but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. This paper seeks a possible answer to the question of how art ties us to reality. (shrink)

The newborn opens its eyes when it comes into the world. We close the eyes of the dead because they are no longer part of the world of the living. It is through looking that we enter the world, that we take possession of it, and that we leave it. We open or close our eyes to the living beings and things that surround us. Of prime importance among these living beings are other humans, who may resemble or be different (...) from us, but whose eyes also look. From this perspective, to live is to look at other people and at ourselves. Artists, particularly those who work with light and looking, such as painters, photographers, or film-makers, show us that art is above all seeing life: we look at the other who has been painted, photographed, or filmed. At the same time a photograph or painting of this other tells us who we are and what type of relationship we have with the world. For looking is never neutral. Every look, from wherever it comes, is imbued with culture. In art, looking is part of writing. But, when we look at others, how do we see them? Do we see them? The blind may have poor sight, yet, because they have bodies, sensibilities, minds, and other faculties that enable them to enter into relations with others, they have a way of looking. (shrink)

The successful specification of the definition of art has so far proven elusive. Discouraged by repeated failed attempts at the definition of art, numerous anti-essentialist philosophers have suggested alternative accounts. In this paper I defend the project of the definition of art by arguing that the strongest anti-essentialist arguments are unsuccessful in ruling out either the possibility or the value of a definition of art. Based on my observations regarding a blind spot in Wittgenstein’s anti-essentialist “look and see” approach, (...) I conclude by suggesting a new avenue of investigation for essentialism regarding art. (shrink)

Despite the prodigious inventiveness of the Middle Ages, the era is often characterized as deeply suspicious of novelty. But if poets and philosophers urged caution about the new, Patricia Clare Ingham contends, their apprehension was less the result of a blind devotion to tradition than a response to radical expansions of possibility in diverse realms of art and science. Discovery and invention provoked moral questions in the Middle Ages, serving as a means to adjudicate the ethics of invention and (...) opening thorny questions of creativity and desire. The Medieval New concentrates on the preoccupation with newness and novelty in literary, scientific, and religious discourses of the twelfth through sixteenth centuries. Examining a range of evidence, from the writings of Roger Bacon and Geoffrey Chaucer to the letters of Christopher Columbus, and attending to histories of children's toys, the man-made marvels of romance, the utopian aims of alchemists, and the definitional precision of the scholastics, Ingham analyzes the ethical ambivalence with which medieval thinkers approached the category of the new. With its broad reconsideration of what the "newfangled" meant in the Middle Ages, The Medieval New offers an alternative to histories that continue to associate the medieval era with conservation rather than with novelty, its benefits and liabilities. Calling into question present-day assumptions about newness, Ingham's study demonstrates the continued relevance of humanistic inquiry in the so-called traditional disciplines of contemporary scholarship. (shrink)

Anders was a preeminent critic of technology and critic of the atomic bomb as he saw this hermeneutico-phenomenologically in the visceral sense of beingand time: the sheer that of its having been used as well as the bland politics of nuclear proliferation functions as programmatic aggression advanced in the name of defense and deterrence. The tactic ofsheerly technological, automatic, mechanical, aggression is carried out in good conscience. The preemptive strike is, as Baudrillard observed, the opponent’s fault: such are the wages (...) of evil. Violence in good conscience characterizes the postwar, cold war era and the present day with its mushrooming effects ofneo-fascism under the titles of national security and anti-terrorism. Karl Krauss’ 1913 bon mot regarding psychoanalysis as the very insanity it claims to cure [Psychoanalyse ist jene Geisteskrankheit, für deren Therapie sie sich halt] has never been more apt for political translation—straight into the heart of what Lacan called the Real which has ‘always been’ the political register. Where Habermas and heirs have tended to disregard Anders , just as most philosophers of technology have ignored the political as well as theethical in their eagerness to avoid suspicion of technophobia, we continue to require both critical theory and a critical philosophy of technology, a conjunction incorporating Ander’s complicated dialectic less of art in Benjamin’s prescient but still innocent age of technological reproduction but and much rather “on the devastation of life in the age of the third industrial revolution.” Thus rather thanreading Anders’ critique of the bomb as limited to a time we call the Atomic Age—as Anders himself varied Samuel Beckett’s 1957 Endgame asEndzeit that is “Endtime,” here invoking the eschatological language of Jacob Taubes as Anders does—this essay connects his reflections on the bomb with his critique of technology and the obsolescence of humanity as of a piece with our dedication to hurling ourselves against our own mortality. This concern with the violence of technology, this hatred of the vulnerability of having been born and having been set on a path unto death inspires Anders’ engagement with the sons of Eichmann—the heirs of those who designed and executed the Nazi death camps and extermination chambers of the Holocaust—and the sons of Claude Eatherly—the heirs ofboth those who designed and those who as pilots deployed the bombings that exploded nothing the stuff of the sun itself against the Empire of the Sun in the attacks on Hiroshima and Nagasaki. We, embroiled as we are in wartime after wartime, suppressing public protest on a scale like never before, in country after country across the globe, cannot dispense with Anders today. (shrink)

Can one be happy and free, and nonetheless be moral? This question occurs at the core of daily life and is, as well, a question as old as philosophy itself. In _Can Virtue Make Us Happy? The Art of Living and Morality, _Otfried Höffe, one of Europe’s most well-known philosophers, offers a far-reaching and foundational work in philosophical ethics. As long as one understands "happiness" purely as a feeling of subjective well-being, Höffe argues, there is at best only an accidental (...) unity between it and morality. However, if one means by "happiness" the quality of doing well in the sense of one’s own successful existence, then one must include actions that undoubtedly have a moral character and are named virtues. He uses clear and general language to present what one understands by "happiness" and "freedom" while illuminating the blind alleys in the history of philosophy as well as the difficulties raised by the issues themselves. What has priority: good ends or right action? Is freedom always anarchy? Is it possible to think of a freedom enhanced by morality? Is "morality" only a pretty word for stupidity? Does humanity have a good or a bad character? Is there such a thing as evil? Höffe offers us enlightened philosophical reflection and foundational orientation but no simple formulas; this is precisely what is at stake because anyone who wishes to live a self-determined life rejects any and all formulas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Is Literature? What Is Art?Integrating Essence and HistoryJerry Farber (bio)I. Aesthetic ExperienceThere remains a widespread belief among literature professors that literature doesn't exist; that is, that it has no stable, transhistorical identity. The very term "literature," we are reminded, shifts its meaning from one century to another. And even if someone should insist that, when they talk about literature, they're not talking about writings in general or a (...) familiarity with books or whatever else the term "literature" may have signified in the past, but only about those texts that one might consider aesthetic, what has this person gained? Not much—since a literature professor who, in recent decades, has turned for answers to the philosophical study of aesthetics will have been likely to confront either a Wittgensteinian dismantling of "art" or, more commonly these days, an institutional theory that defines "art" not on the basis of any properties that it might possess or of any function that it might serve, but solely on the basis of its relation to a cultural institution that, in return, is identified in relation to "art." One might be forgiven for concluding that to follow this quest for essence from "literature" to "aesthetic" or "art" is to go from one sinking ship to another.So literature—as Terry Eagleton, for example, has continued to insist through two editions of his widely read Literary Theory: An Introduction1 —doesn't exist. Which makes it awkward to be a literature professor and helps to explain why so many of us have tried to reinvent ourselves as professors of something else. But this is by no means a mere problem of academic nomenclature, since more than a few of us continue to believe on some level (a level obviously below the graduate level) that there is something there all the same, something that is more stable and less culturally contingent than our theories tell us it is. We just don't know how to legitimize that belief. This dilemma tends to be reflected one way or another in [End Page 1] our teaching. We may repress any essentialist qualms and seek a lofty theoretical consistency as cultural historians for whom aesthetics is merely one more thing to situate—and we pass this disbelief in literature on to our students. Or we may learn to live with cognitive dissonance and pass that on to our students. Literature is hardly alone among the arts in its identity problem, but it does seem to have a more advanced case.Someone came for a job interview on my campus a few years ago, fresh out of a fairly prestigious doctoral program. He made his presentation and then mentioned during the question period afterward that, in his classes, he did make an effort not to ignore a text's aesthetic qualities. He stopped, looked around apprehensively, and said, "I know the term's problematic, of course...""So how do you resolve that?" I asked.He shrugged. "I don't know really."Nonetheless, just as there has been a "return of the aesthetic" in broader terms, books and articles have been appearing from the mid-90s on, arguing for or heralding a reemergence of the aesthetic in literary study.2 Certainly this makes sense, if only as a way of trying to shore up our precarious position in the academy, since, as has been repeatedly observed, literary study, in the absence of any delimiting aesthetic criterion, simply dissolves into other disciplines. And if literature doesn't exist, why spend money on literature professors? Why not hire real historians, sociologists, philosophers, psychologists, etc., to do those more respectable and definable things we keep claiming we do? But still, practical motives aside, what is to be the theoretical basis for any return to literary aesthetics? Can this merely be a matter of fashion? Will "the return of the repressed" do as a justification?The time has come, I think, not to revert to a simple, blind faith in "literature" and "art," but to find a way of reconciling our stubborn essentialist belief, on one hand, and our constructionist perspective, on the other—a way of understanding and teaching literature... (shrink)

The aim of this article is to point out that attentional practices don’t simply overlap with control and action/reaction dynamics; they are also strictly connected to non-productivity, non-instrumentality, disinterestedness, contemplation as performative inactivity. Disinterested attention (a definition formulated by Bence Nanay) and free-floating attention help to better understand the apparently seamless and unproblematic transition from passive spectator to active participant/agent of contemporary art. If considering attention in relation to executive functions (planning and organizing our experience in the world we live (...) in) could be persuasive, a self-evident definition of attention strictly considered as “selection for action” is less convincing, and the weakness of this connection becomes clear when goal-oriented attitude is pushed into the background. Attention is often researched into to improve our performances and to overcome the inevitable “blind spots”: experiencing art is about a different way of paying attention, that is fluctuating, “suspended,” fragmented. (shrink)

From the perspective of a recent graduate, this article offers a critique of non-STEM higher education in England as unfit for purpose. Whilst universities blindly focus on employability, transferable skills and narrow bands of subject knowledge, the economic world around them has collapsed into absurdity. The graduate today is now faced with economic, social and cultural precarity which is unreflected in the rigid structures and narrow focus of their degree. This article seeks a radical return to the ancient principles of (...) a liberal arts education. Far from this being regressive, I argue that this education can and should be reclaimed and reinvigorated by the flexibility, difficulty and complexity of modern philosophy. Drawing on both Zygmunt Bauman’s liquid modernity and Nigel Tubbs' modern metaphysics, this article argues that higher education is far from obsolete but that its continuing relevance in late Capitalism can only arise from a return to the questions of how graduates can best thrive i... (shrink)

In 1976, Fred Miller published a brief, but highly original, paper entitled “Epicurus on the Art of Dying.” This was shortly after Thomas Nagel’s well-known 1970 paper which attempted to counter Epicurus’s claim that death does us no harm, and somewhat before ancient philosophers and their philosophical colleagues started turning Epicurus’s death arguments into a major growth industry. I argue that if Epicurean scholars had taken Miller’s arguments to heart it would have saved them going down a lot of (...) class='Hi'>blind alleys in what is now the almost 50 years since the paper appeared. Using elements taken from his arguments, I elaborate them in the light of subsequent scholarship in order to show why a series of leading contemporary interpretations of Epicurean claims about death are deeply inadequate and why Epicurus’s view is not just a clever puzzle, but, as Miller argued, a position with considerable, even attractive, argumentative resources. (shrink)