Aesthetics and Ethics

Haroldo Conti teve sua produção literária interrompida quando foi sequestrado no começo da ditadura militar argentina. Ainda hoje figura na lista de desaparecidos políticos. O objetivo deste artigo é evidenciar alguns resultados obtidos na dissertação, em especial uma parte da análise comparada entre os contos de Conti e os contos brasileiros. As narrativas "A terceira margem do rio" (Guimarães Rosa), "As voltas do filho pródigo" (Autran Dourado) e "Frio" (João Antônio) permitiram uma maior compreensão daquilo que move as personagens contianas e como estas constroem o "esforço por existir". Para realizar esta "descoberta de si", elas precisam aprender a enxergar, a partir do outro, a presença de um mundo antes não sensível aos olhos. Através das "pequenas percepções" que se instalam gradualmente nestas personagens, elas tentam recuperar não apenas o espaço-tempo que ficou para trás, senão o encontro com o outro: um encontro que não se deu em vida e que tem, através da memória, a última chance de ocorrência.
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This paper contributes to the field of Latin American literary studies by shedding light on the interrupted literary production of Haroldo Conti during the Argentinian military dictatorship and situating his work within a broader South American literary context. By drawing comparisons between Argentinian and Brazilian literature, this study enhances the understanding of how characters in these narratives navigate their existence and perceive their realities, offering new insights into the thematic and stylistic connections across Latin American literature.

Adam Smith’s often overlooked “Of the Nature of that Imitation which Takes Place in What Are Called the Imitative Arts” (1795) reveals his innovative understanding of the overlaps and conflicts in valuation in the emerging discourses of aesthetics, moral philosophy, and political economy. Placing his praise for an African performing a war-dance in the context of eighteenth-century aesthetic theory and representations of Africans (including Olaudah Equiano’s Interesting Narrative) clarifies current debates over the viability of liberal value and cultural pluralism in a post-Enlightenment world grappling with the implications of impeiralist violence, especially the Transatlantic trade in enslaved people.

In the laboratory of Musée de la Musique, Paris, a part of research activities aims to provide acoustical information on collections. Concerning wind instruments, various wood species are used in the making procedure, having undergone different treatment techniques and showing various wearing and aging conditions. Such differences involve large variations of roughness and porosity, affecting the acoustic dissipation in the resonator, with a potential impact on playability and sound. The influence of polishing and oiling on the acoustic dissipation is experimentally investigated with a corpus of five cylindrical pipes, manufactured by a flute maker. Their species are typically used in wind instrument making: maple (Acer Pseudoplatanus), pear wood (Pyrus Communis L.), boxwood (Buxus Sempervirens) and African Blackwood (Dalbergia Melanoxylon). The pipes are parallel to the grain, except one whose axis forms an angle of 60 degrees relative to the fiber direction. A simple method is sugg...

O artigo investiga o conceito de utopia nas praticas artisticas contemporâneas. Pela instauracao de micro-utopias que potencializam a circulacao dos afetos, a arte contemporânea vem sendo marcada pela instauracao de espacos de convivencia alternativos, que recriam lacos sociais e potencializam os vinculos entre os participantes, explorando as modalidades de uma "estetica relacional" (Bourriaud) que visa gerar relacoes transformadoras num contexto dominado pela logica neo-liberal. Configuram-se entao territorios de resistencia e de contaminacao que se inscrevem em um movimento mais geral de "artivismo" que, partindo de uma revolucao da subjetividade, propoe uma revolucao dos nossos modos de perceber e habitar o mundo. No presente artigo, observaremos estes conceitos no trabalho do Coletivo de Performance Herois do Cotidiano, do Rio de Janeiro. Ao buscar subverter os modos de percepcao habituais, o Coletivo propoe uma partilha sensivel, que pode resultar na modific...

Artificial Intelligence and expressiveness: The necessity for conceptual knowledge to go through the path of aesthetic perception,

«Τεχνητή νοημοσύνη και εκφραστικότητα: η αναγκαιότητα περάσματος της εννοιολογικής γνώσης από το μονοπάτι της αισθητικής εποπτείας»

Days of Art in Greece, Τεύχος 18, Φθινόπωρο 2024, σς 26-39.

ISSN: 22418942

Beauty is the manifestation of God. It develops an impulse of love, and to love beauty is to love God, the Creator of the universe. Beauty is comprehended through senses, and sensuous values develop spiritual consciousness. The awareness of Beauty is acquisition of Truth that is Beneficial or the cause for Welfare. Keats was a worshipper of beauty. “He loved the principle of beauty in all things.” Primarily he was considered a poet of sensuous beauty but a thorough study of his poetry and letters reveals that his conception of beauty was holistic and transcendental, being closer to the Indian concept summed up in the expression- Satyam Shivam Sundaram. The present paper is a critical study of Keats’ mysticism of beauty in the lines of Indian views. The attempt has been made to go through some of the relevant Indian religious texts to prop up Keats’ belief and present the veracity of Keats which has remained dormant in the oblivion of time. Keywords: Satyam, Shivam, Sundaram, beauty,...

Process scholars focused on ethical-aesethetic dimensions of process thought such as "beauty" and "intensity" as preserving valuable (and/or ecological) conflict often overlook a normative aspect of Whitehead's religious and metaphysical vision of a possible future characterized by less, or perhaps no, loss. Utilizing the metaphysical framework of Jainism, an ancient Indian tradition centered on ethical experiments in nonviolence, as a comparative case study, I will provide an account of Whitehead's ethical aim as a telos of nonviolence. Technical concepts in Whitehead's works, such as "unison of immediacy," the "many" and the "one", the potentiality of "eternal objects" or the "subjective aim", the "lure", his description of the "khora," and even his use of the term "peace," present a vision of social and ecological nonviolence for an unfolding future. In this view, harm reduction and social ecology need not be at metaphysical odds. Rather, I argue that nonviolence is part of the structure of becoming in a process metaphysics, not only for certain exceptional beings, but ultimately for all existent entities.

Niedlichkeit ist sicherlich nie völlig inklusiv. Wenngleich die Kriterien des Niedlichen bisweilen schneller erweiterbar und verrückbar scheinen als die für Schönheit, schließt deren Anwendung stets Körper aus. Die Anerkennung für Niedliches indes ist genuin exzessiv, trägt sich zu im Aus-sich-Herausgehen des Entzückens und der Verzückung. Dieses Exzessive reicht sich auch an die Körperarbeit zum Zweck der Optimierung und an die bearbeiteten Körper selbst weiter und verleiht der Steigerung eine Leichtigkeit, die insgesamt erhebend und nicht erniedrigend wirkt.

On

Aenne Biermann
60 photos
Introduced by Franz Roh—“The literary dispute about photography”
Reprint from 1930 with Original Advertisements
+ New Essay by Hans-Michael Koetzle—“She gently grasps the things her eyes see”
Both texts appear in German, English & French

Since its invention photography has demonstrated ever deeper, broader + more popularly scientific surveillance in the ongoing present tense. As if a genetic expression this increasingly immediate optical epistemology has fast evolved into a pinholes\pixels behavioral obsession for the latest camera-possessed. Moreover the panopticon analogy now expands to personalize multiple guards + prisoners + managers all together to watch to report on one another in daily motion media picture prisms.
This digital critique dismisses the quaint debates between photography + art. Rather it extends critical concerns about their facile language accompaniment serving to keep the political faithful (1) still on their cells + screens, (2) at hand with official photo IDs, fungible plastics + state museum memberships & (3) immorally ready to believe enough to kill non-members.
The past comes into sharply ignorant focus in the present from a common future.

That photographers take pictures & painters paint them even now still bothers some retrograde theorists. Art can encompass both photographs + paintings so why bother to continue to debate this over-and-done-with pageant?
When thinking forms art, language caps photography + painting & decides their Art. Text captions photographs, entitles paintings, of course, & names winners. But also by reducing poetry to publishing & prose to propaganda, messages package the art + graphics they accompany.
Wordlessly evident in political arenas photography gives societies individuals who shoot their art to contend with imperial complementary authorities. Snapshots can order slogan nouns, passive verbs + quality adjectives with written/spoken implicatures in large quantities for crowds.
Insight follows lenses everyday. Everywhere eyes see things more or less explained. Critiques come by below bylines for outer spaces to scale & deadly drone/pager shots exploding all over the captured, war-torn Earth.

Prefácio escrito para o livro Ódio ao Direito do filósofo Murilo Corrêa, publicado pela editora Sob Influência: https://sobinfluencia.com/produto/odio-ao-direito/

Link para a publicação original do jornal Outras Palavras: https://outraspalavras.net/blog/seria-possivel-subverter-o-direito/

Beauty and Significant form, these are the two terms that was greatly associated with aesthetics, especially in Clive Bell as he tried to present answer to old problem of aesthetics. which is the problem of beauty. Thus he presented beauty as a general concept, Natural things may be considered as beautiful but cannot be considered as works of art. On the other hand significant form is what he proposes to understand works of art as truly beautiful is that it must arouse certain emotion to the viewer through the significant form done, the combination of lines, shapes, colors and etc. which combined in proper way will arouse the so called aesthetic emotion. Thus the proponent of this research will try to expose and dissect this two notion of Clive Bell as part of his important contribution to Philosophy.

Este ensayo pretende realizar una aproximación interdisciplinar a la ficción televisiva Years and Years creada por Russell T. Davies en 2019.  Partiendo de una metodología híbrida que aúne una revisión bibliográfica y el análisis crítico del discurso, proponemos un análisis sociopolítico exploratorio desde la cultura de paz y las epistemologías feministas de las temáticas abordadas en la serie, reforzando así los estudios sobre la performatividad de la ficción audiovisual también en cuanto a los horizontes distópicos y los retos del futuro inmediato (crisis de derechos humanos respecto a las personas refugiadas, auge de los autoritarismos a nivel global, crisis socioambiental, crecimiento de los discursos de odio, aporofobia, transhumanismo y robotización…), y exponiendo las posibles alternativas que se plantean desde el comunitarismo, los movimientos sociales y las alianzas entre alteridades y sujetos subalternos.

Este artigo apresenta um resumo estendido dos resultados obtidos na dissertação defendida no Programa de Pós-graduação em Ciência da Computação em 22/12/2023. O trabalho foi desenvolvido pela primeira pessoa autora, num período de 34 meses, sob a orientação das últimas pessoas autoras. Neste artigo, é apresentado o desenvolvimento, aplicação e avaliação de um framework, nomeado EMPADARIA, baseado na Pedagogia de Projetos para criação de jogos narrativos interativos e que também favoreça a inclusão de estudantes com deficiência visual. O framework apresenta subprodutos diversos que visam garantir a autonomia do professor, adaptar a prática do professor conforme o contexto escolar, bem como facilitar o desenvolvimento dos jogos narrativos. O framework foi aplicado em duas salas de aulas do ensino regular com auxílio dos professores e com a presença de estudantes com e sem deficiência visual. Os resultados indicaram o potencial de inclusão do framework, bem como o engajamento e apropriação de conhecimentos diversos (curriculares, computacionais, sociais e científicos) pelos estudantes.

El presente artículo se propone desarrollar las implicancias de la lectura realizada por Jorge Luis Borges del filósofo alemán Arthur Schopenhauer. El escritor argentino, sostendremos, realiza una operación de lectura muy particular con dicho filósofo, utilizando conceptos schopenhauerianos no solo en sus propios escritos poéticos, narrativos y ensayísticos, sino también en la propia construcción de sí como figura intelectual. Las implicancias de esta apropiación constituyen, por ende, un aspecto fundamental de su obra que no ha sido lo suficientemente trabajado hasta la fecha.This article aims to develop the implications of the reading made by Jorge Luis Borges of German philosopher Arthur Schopenhauer. The Argentinian writer, as we will propose, directs a very particular reading operation towards the previously mentioned philosopher, by using Schopenhauerian concepts not only in his own poetics and narrative writings aswell as in his essays, but also in his own construction of him...

En este capítulo se analizan las características del fascismo fascinante de Susan Sontag en la narrativa cinematográfica mainstream estadounidense actual. El objetivo es dar cuenta de que, aunque han pasado varios años desde que la estética fascista se convirtiera en fetiche, sigue predominando en el cine actual de un modo estetizado y heredado de la práctica audivisual de la era de los totalitarismos.

This paper examines Plato's concept of democratic justice as presented in The Republic. It explores how Plato identifies various forms of government in ancient Greece—timarchy, oligarchy, democracy, and tyranny—and describes a degenerative sequence that arises as these systems move away from aristocracy. The discussion highlights how Plato critiques the vices and political deterioration of his time, proposing justice as a central value that governs both the state and the individual. By analyzing dialogues between key characters, the paper underscores Plato’s view that justice in a democratic regime is closely linked to the well-being and happiness of the polis, while injustice leads to societal decay. The paper also connects Plato’s ideas to later philosophical developments, such as Kant’s tripartite concept of freedom, justice, and power, and Habermas’s notion of the public sphere. These connections demonstrate how Platonic justice has influenced contemporary democratic thought, emphasizing the importance of preserving equality and preventing tyranny within a legal and ethical framework.

Malaysia kini semakin maju dalam pelbagai teknologi terkini. Pencapaian agak memberangsangkan termasuklah kejayaannya di dalam dunia hiburan kanak-kanak. Kelahiran kartun animasi pelbagai versi adalah satu petanda yang sihat dalam pembangunan perfileman tanah air, khususnya pembangunan teknologi terkini. Seiring dengan perkembangan dunia animasi di sektor perfileman negara ini, penulis telah mengambil peluang untuk mengkaji dengan lebih mendalam mengenai pandangan kanak-kanak terhadap animasi kartun Doraemon. Kelahiran pelbagai versi bahasa dalam siri animasi di televisyen telah mendorong lagi minat penulis untuk mengetahui sejauh mana siri animasi ini akan mempengaruhi dunia kanak-kanak. Penulis telah memilih satu siri animasi yang telah menarik minat golongan kanak-kanak iaitu animasi kartun Doraemon. Tujuan penulisan tesis ini ialah untuk mengetahui sejauh mana pandangan kanak-kanak terhadap siri animasi kartun Doraemon yang ditayangkan di kaca televisyen. Penulisan tesis ini dij...

Este artículo explora la obra y el pensamiento del pedagogo francés Fernand Deligny (1913-1996), centrándose en su último proyecto comúnmente denominado la Tentative des Cévennes, desarrollado entre 1967-1996. A partir de esta experiencia que Deligny forjó junto a sus colaboradores, el artículo expone la generación de una particular forma de conocimiento, una filosofía subordinada a una red solidaria formada por cuerpos humanos y no humanos, entornos y situaciones, gestos mínimos, acciones cotidianas y acontecimientos contingentes, visibles sólo a través de una serie de dispositivos estéticos que se desarrollaron durante este periodo: escritos, trazas, mapas, películas, entrevistas y vagabundeos. Esta filosofía gestual estaría ligada a una serie de acciones que constituirían un sistema orgánico en su aparente dispersión material. El artículo está organizado a partir de una contextualización biográfica e histórica, para posteriormente desplegar el marco teórico de la investigación y ...

The convergence of aesthetic theory and practice has a long history. In addition to authors of the Western tradition such as Theodor W. Adorno, Simone de Beauvoir, or Bernhard Waldenfels, it is currently above all the merit of decolonizing approaches to expose and unfold aesthetic modes of thought and mediation in the course of a persistent deconstruction of abstract theoretical structures. Instead of proposing treatises following a linear line of argumentative development that often only soberly and succinctly refer to the sensual richness of practical experience, Kandice Chuh and Saidiya Hartman, for example, create fabrics in which conceptual-analytical considerations, poetic negotiations and visual representations are interwoven. Even though the rhetorical strategies of disruption, irritation and pulling force involved here are widely used in contemporary cultural theory practice, there is by no means unanimity, especially in philosophy, about the legitimacy of their use.

Fundamentally, the dimensions of meaning of the term aesthetics point to overlaps between a theory practice, an object and a means of sensually grounded effect that occurs in experiences. Adorno interprets these overlaps as appropriate to the object of investigation. In his view, aesthetic theory practice requires a mimetic reconstruction: philosophical aesthetics must itself become aesthetic. This is achieved, among other things, by the rhetorical strategies just described.

This talk explores the question of the extent to which such an entanglement of aesthetic theory and practice represents both an opportunity and a risk for philosophical perspectives. The starting point for this is the observation that through the progression from poetic to visual to acoustic or tactile phenomena, theory practice reaches non-linguistic borderlands of bodily experience that do not belong to its area of competence in the conventional sense. If it nevertheless wishes to follow Adorno’s dictum, philosophical aesthetics must engage with a dimension of it falling silent without equating this with the total abandonment of all epistemic claims. The talk follows the hypothesis that this falling silent can constitute a fruitful starting point for mediation if the inconclusiveness of philosophical theory practice is considered in a self-critical manner in the process. The argumentation follows the idea that a philosophical position can get involved with the effect of aesthetic phenomena if it understands them as media that enable philosophy as a shared thought practice in the first place. This means determining aesthetic phenomena in their sensual richness and linguistic limitations as a hinge with which the limitations of an individual philosophical position can be linked to the offer of thinking further with others. Here, the opacity of aesthetic phenomena appears as both falling silent and connectivity, both dimensions being entangled in a dialectic way. However, precisely because this approach remains underdetermined due to its operation at the limits of linguistic comprehension, it also comes with risks. These will be discussed in the talk with a focus on the concept of accuracy. In this context, a difficulty of aesthetic mediation as open-ended process of exploring meaning takes shape. This difficulty will be discussed on the basis of the proposal to determine philosophical considerations as embedded in a network of practice in which accuracy and appropriateness as well as epistemic, ethical, and aesthetic perspectives are dependent on each other.

The talk follows a four-part structure: The first section explores the diversity of aesthetic presence in philosophical theorizing. The second section discusses the peculiar relationship between aesthetic theory and practice. The third section explores the tension between opacity and connectivity. The fourth section utilizes the concept of accuracy to raise the question of the limits of aesthetic mediation.

The social structures and thought patterns of the modern world are the fruits of the Enlightenment, which begins by eliminating final causal explanations in favor of purely material and efficient causes. The development and great technical success of Enlightenment procedures has, however, produced a cultural blindness about the good. Camus's novel shows us this cultural blindness through characters who themselves suffer from it; for modern man it is almost a natural evil-we are born into it. Camus's hope must have been that the vision of the characters' incapacity might help break us from the same incapacity. What the cured life looks like Camus does not say; in the world of our plague it appears as either odd or mystery.

Em tempos de reconsideração das relações entre humanos e o que convencionamos ser natureza, de reconfiguração
do tecido destas relações e formas de sociabilização ao qual chamamos de cultura, há que considerar os encontros, pensados ou
impensados entre o que pensamos ser do animal e o que pensamos
ser do humano, sem projetar um sobre o outro. Sem antropomorfizar e sem animalizar. Um palco de uma instituição cultural pode
ser um lugar onde se ensaiam essas formas de relações, lançando-
-as para serem pensadas, sentidas, no espaço publico e, por isso,
para um espaço que é também o da política, que já não pode ser somente uma prática que se exerce somente considerando o que é da
cidade e o que é do humano, tendo de considerar as relações ecossistémicas pelas quais um palco tem um lugar. Este é também um
espaço que se confronta todos os dias com o acolhimento do que
“não é como nós”, de outras culturas e modos de sociabilização, mas, também, de sociabilização do que extirparmos do que é ser
humano. Este texto é então um ensaio – no sentido de ensaiar –,
que apela a outros ensaios, em considerar esses que nada têm em
comum connosco. Ensaiar conceber a alteridade, não só como algo
que nos é exterior, mas como também algo que nos atravessa, mesmo carnalmente, relembrando-nos, como o fez Merleau-Ponty,
que pertencemos a uma carne do mundo. (...)

Aquesta ponència descriu l’activitat de promoció de recerca en accessibilitat que impulsa la Càtedra d’Accessibilitat en el sí de la UPC. Per tant, s’identifica en el tercer bloc temàtic del Congrés: interdisciplinarietat en la recerca. Peer reviewed

Art, Activism and Sundarbans: A case study of Musical Environmental Movement through Film is a case-based study of ecocinema. Ecocinema studies involves the ecocritical reading of films with or without overt environmental messages. Scholars in the relatively new, yet the burgeoning field of ecocinema studies primarily critique fictional and documentary films. However, I am among a subset of scholars (Seymour, 2014; Pedelty, 2017) who are bringing a more directly engaged, field-based, and production-oriented focus to ecocinema studies and environmental communication. My research in the Sundarbans (India-Bangladesh) involves artists-activists who use music and performing arts to communicate ongoing environmental issues. I used a field-tomedia method to film, study and analyze an environmental movement that advocates for the mangrove forest. That work is presented and framed partially through writing, but more fully through the documentary film, Musical Mangrove. The written sections of this dissertation are in conversation with ecocinema scholars such as Rust, Monani and Cubitt (2012), von Mossner (2014), Macdonald (2004, 2012), and Ingram (2005) to suggest a more collaborative and production-based approach to the study of ecocinema. Additionally, this work points out the need for similar participatory approaches to environmental communication and starts a dialogue between ecocinema studies and environmental communication. Ultimately, my goal is to bring together production-based experience as a field researcher with the broader field of film criticism, especially in terms of environmentally themed film and film studies, for sake of making a distinct, experimental, and integral contribution to ecocinema studies, media studies, and environmental communication more broadly.

Esta obra apresenta percepções de professores e estudantes a respeito dos avanços/mudanças, dificuldades e desafios para a integração das tecnologias digitais de informação e comunicação, da robótica e do pensamento computacional no cotidiano da escola pública.

Tecnologias digitais, robótica e pensamento computacional: formação, pesquisa e práticas colaborativas na educação básica

Organizadores: Adriana Aparecida de Lima Terçariol; Daniela Melaré Vieira Barros; Elisangela Aparecida Bulla Ikeshoji; Raquel Rosan Christino Gitahy; Ronaldo Lasakoswitsck

https://www.pimentacultural.com/livro/tecnologias-digitais/

There are some very respectable Kant commentators who argue that Kant was not justified in using his own theory to reach the conclusions that he reached in relation to the immorality of homosexuality and some sex-related matters such as marriage and prostitution. Guyer argues that the principle that every natural organ and capacity has one and only one proper use (the teleological principle of living beings) has no fundamental normative role within Kant’s moral philosophy and although Kant does use this principle, in some aspects of his treatment of human sexuality and in some of his arguments against suicide, he has no justification for doing so. From Guyer’s viewpoint, the adoption of this principle seems to be incompatible with his fundamental principle of the unconditional value of human freedom. Denis believes that appeals to nature’s purpose for particular drives constitute a limited part of Kant’s arguments for duties to ourselves, concluding that there seems to be no support...

An earthquake in Mexico City spurs the rise of democracy. A plague in South Africa lays the foundations for apartheid. A terrorist attack on New York City triggers massive shifts in global security. A global pandemic sets the stage for the largest civil rights protests in generations.

Beyond their physical impact, disasters assault our certainty and shape a narrow space to alter the structure of what we believe. That change can lead us toward disinformation and authoritarianism, or it can lead us toward greater solidarity and human rights. It all depends on the choices we make as we live through crisis; on how, in fact, we choose to know each other.

The Epistemology of Disasters and Social Change draws on social epistemology, disaster sociology, psychology and feminist philosophy to investigate how disasters function as cauldrons of social transformation, for good and ill. We wrestle with how disasters change us, moment by moment, and provide new strategies to help these tragic events produce positive social transformation, leading to a brighter future during this century of crisis.

Asking for the time is often considered a trivial inquiry, yet it is undoubtedly a question that is posed numerous times each day across the globe. From young individuals who are unaware of the current time, to less fortunate individuals lacking timepieces, or even to those who are simply reluctant to retrieve their cellular devices from their pockets to ascertain the time for themselves.
There are also those who, amidst the prevailing adversities in today's society, ponder how much longer such circumstances can persist.
This essay is intended to address the question from a biblical perspective with special consideration to current developments.

On

ETHNIC AND TOURIST ARTS
Cultural Expressions from the Fourth World
EDITED BY NELSON H. H. GRABURN

For starters this review regards art with more necessity, less sociology. Digitally it extends the critical literature by addressing an ethical vacuum in cultural aesthetics. It challenges those driven to write up their research + findings for publication to be more creative than information specialists. Taking otherness for ethnicity + good intentions for traditional skills can after all make art anthropologists + readers a little mad perhaps, emotionally, psychologically or politically. Neither natives, curators nor artists but Western academics, they tend to categorize what they find according to socio-economic standards that apply to offices, industry + itemized products, not art. Self-enterprising justification, however impressive to these professionals working inside zoned areas, can seem insufferable to others outside the perimeter, who feel equally distant, free + superior about their own unexamined reactions, or probably non-reactions, if not silent antipathy, to situational art.

Those who study another culture consider it from their own milieu without equally methodically separating the two. Following themselves they misguide others: (1) not artists naïve anthropologists see people trade art or kitsch for rituals or markets differently fated by historical materialism; (2) not critics they judge the work by where it is displayed—airports, fairs, museums, temples, mansions, huts; (3) anthropology-trained professors batch art history unlike Duchamp + da Vinci or Herodotus + Homer.
Their pedagogy coarsens their own + other cultures by explaining art socio-economically with skilled/unskilled, past/present, profit/loss, native/visitor + racist conventions. Worse politically, it accrues + teaches warehouse style, piling itineraries, condescension, numbers, anecdotes, rankings + mythology into shaky critical racks.
Artists or non-artists, wherever they do whatever they do, do not all make recognized or non-recognized art or non-art there or here. Nevertheless learned self/other relations with good/bad, thumbs up/down aesthetics implicate simplistic +/- art anthropology for everyone: Visiting hours are over.

Metrópolis de Fritz Lang es una película de enorme complejidad que casi cien años después de su estreno sigue provocando polémica en torno a las posibles interpretaciones ideológicas que propone. En este artículo, se estudia la película en paralelismo con otros usos ideológicos que se hicieron de los mismos mitos clásicos y bíblicos en ese contexto histórico. Especialmente aporta mucha luz sobre el complejo significado de Metropolis la comparación con el proyecto iconográfico del Rockefeller Center de Nueva York, que sigue una estética similar y hace también un uso simbólico de los mitos clásicos de Prometeo y Atlas que aparecen en la película. Sin embargo, mientras que Metrópolis supone una cierta premonición distópica -y preventiva- de la crisis del sueño europeo que presagiaba, por ejemplo, el uso simbólico que de esos mismos mitos se hacía entonces tanto en la URSS como en la Alemania nazi, el Rockefeller Center simboliza -todavía hoy- el proyecto más utópico del sueño capitalis...

¿Cómo y por qué es contemporáneo un rostro? No solo el rostro que devela la identidad presente, sino los rostros fantasmales de los que solo nos resta la imagen. Los rostros pueden ser vistos como un índice de la historia, y, con ella, del tiempo; por tanto; el objetivo del escrito será proponer un esbozo del rostro gestual y fantasmal en la obra del artista colombiano Óscar Muñoz, de la mano de algunas reflexiones del filósofo italiano Giorgio Agamben.