• Structure, Sign and Function- Selected Essays by Jan

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    A large part of the Bible, for instance, is made up of wisdom literature, which is chiefly practical philosophy with a religious foundation. There is not just the eloquence of the people you list, but also that of reactionaries like Maxime du Camp and the Goncourt brothers, and even of a police commissioner like Adolphe Gronfier. To say, however, that the migration of disinterest from pleasures to attitudes is natural is not to say that it is inconsequential.
  • Meditations on the Human Condition in an Imperial Age

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    An attack upon supposedly indestructible structures of knowledge is occurring: finitude of the subject, the phenomenal given, a priori synthesis. “Relinquishing the transcendental” is the leading project of postcritical thinking in the early twenty-first century, in particular as it appears in Quentin Meillassoux’s book After Finitude. Hume himself was just as concerned about morality as about causality, and found himself in the same Skeptical position in both matters. Ancient art was largely, but not entirely, based on the six great ancient civilizations: Egypt, Mesopotamia, Greece, Rome, India, and China.
  • The Other Night: Dreaming, Writing, and Restlessness in

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    One day of silent exploration of the UCONN campus. 2. Paintings too can contain such emotional points of view, for example Monet's The Seine in Thaw, painted after the death of his wife Camille, which Wollheim sees as an expression of mourning (Wollheim 1987). His premise is that it is possible to examine the world without any preconceived notions about causes or underlying structures. The last constitutes the first sphere of the universe, and when the second intelligence engages in its own cognitive act, it constitutes the level of fixed stars as well as another level of intelligence that, in turn, produces another intelligence and another level of body.
  • The Cultural Space of the Arts and the Infelicities of

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    Rose is!” one character exclaims, “He always seems to talk of everybody as if they had no clothes on” (Mallock 350). Ethics asks such questions as "What makes right actions right and wrong actions wrong?" "What is good and what is bad?" and "What are the proper values of life?" Can important motives in the personality of a typical member of the society be inferred from inspection of its works of art? If Levinasian ethics is discussed in isolation from the global system of beings that it was designed to counter, its philosophical precision is lost.
  • On Beauty: Three Discourses Delivered In The University Of

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    This reading is understandable to the point of seeming obvious, and certainly matches the philosopher's own self-interpretation. Sinism is a species of relational ontology or philosophy of Interbeing which defines reality as social process, that is, in the cosmos everything is connected to everything else or nothing exists in isolation, that coincides with the “first law” of ecology. Having held its first symposium in 2010, successful conferences at Newcastle University, UK 2012 and TU Delft, Netherlands 2014, ISPA has become the preeminent established organization in the field.
  • Reality Hunger: A Manifesto

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    If a philosopher was one who loved wisdom, then what he sought was wisdom (Philosophy itself is not wisdom, but only the search for, "love", of wisdom). What rights must a just society accord its citizens? Non-law students are welcome but need permission of the instructors, since space is limited. Before I began to study Aesthetic Realism I thought what went on inside of me was very different from what went on in other people. Thames and Hudson, 2001. [39] Fineman, Mia (2007-03-21). "YouTube for ArtistsThe best places to find video art online." (http:/ / www. slate. com/ id/ 2162382/ ).
  • Aesthetical and philosophical essays (v.1)

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    These men were basically metaphysicians, who were looking for the reality behind all appearances. How does the Western dramatic or literary genre of “tragedy” resemble or differ from the Japanese focus on mono no aware? Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century. Al-Farabi, for example, appears to have made this connection in his Ihsa' al-'ulum, since he concludes his remarks on the poetic statement's ability to influence behaviour with the observation that this is 'what happens when we see likenesses imitative of the thing, or things resembling something else'.
  • Traffic (Object Lessons)

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    Lao-tzu, the legendary founder of Taoism, was even more puritanical. This form of play is a pseudo-labor, a labor that prepares us for labor. Even when we point and say "that is a chair", a wealth of understandings underlies this simple action — most obviously in the grammar and behavioural expectations. As opposed to the extremes of biopower, Agamben argues that the central political and philosophical question is how to think of bare life not as simply a being-for-death but as a “whatever being,” or a being poised at the ontological ground zero of existence that can open itself up to multiple substitutions and permutations.12 Here Agamben once again meets with Foucault in a quest to understand the potentialities of life given the present rise of biopower.
  • Aesthetic Resistance and Dis-Interest: That Which Will Not

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    Today's variety of expression can be seen in these four examples of federal building projects. Reflecting about such modest ideals should lead us to realize that even in the case of higher values like beauty, in which perfection is (perhaps) not achievable, we can speak meaningfully of full instances, things which are really beautiful, and not just "approximations" that aspire to being beautiful without quite making it. It is a deep part of being human and thinking through problems and solutions.
  • Music After Deleuze (Deleuze Encounters)

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    However, the will in us is subject to the laws of nature, which means we can only create objects by means of natural causality. Third, there is the concern that dance in some ways is not so antithetical to the bioproduction of capitalism as Badiou would seem to suggest. Theodor Adorno felt that aesthetics could not proceed without confronting the role of the culture industry in the commodification of art and aesthetic experience. I have edited editions of the following books: Art and the Emotions: A Defence of the Arousal Theory.