Sublime

This paper compares the Milky Way in Aratus (Ph. 469–79) and Manilius (1.684–804), focusing on the role of the sublime in both texts. In Aratus, to gaze at the Milky Way is a sublime experience that constitutes an image for reading the Phaenomena.  In addition, the sublimity of the Milky Way transports us to a time when the heavens were not fully understood. To wonder at the Milky Way is a transcendent, spiritual experience that pushes us to study the heavens. Manilius responds to Aratus in ways that have gone unnoticed. The Milky Way fills viewers with sublime wonder and physically compels contemplation of the stars and the divine. Because of its physical power, however, the Milky Way symbolizes the principles and mechanisms of astrology and the sublimity of the astrological poet. Manilius also reminds the reader of an earlier era in the history of stargazing, but this experience plunges us into sublime terror, offering a darker view of the past than Aratus. Manilius’ narrative contains an additional self-referential image. According to some, Phaethon’s fiery chariot ride produced the Milky Way. For Manilius, though, Phaethon is an exuberant stargazer whose daring adventure symbolizes an approach to the heavens that is properly and polemically sublime.

This research aims to examine which of the "Sublime" concepts described by Edmund Burke in A philosophical inquiry into an origin of our ideas of the sublime and the beautiful, published in 1757, can help in the interpretation of Edgar Allan Poe's The Black Cat, published in 1843. The analysis of the human passions performed by Burke in his book shows their effects for pain or pleasure, and the concept of "Sublime" characterizes the passions caused by pain. Since Poe presents many different philosophical questions in his tale, this research wants to investigate which are they and show how Burke's concept of "Sublime" may be observed in it. The horror described by Poe in the tale's sequence of events has numerous features of Burke's concept. The tale begins with the narrator, imprisoned and feeling close to death, telling about the series of strange domestic events. At this moment, everything that has happened to him, is felt as horror-although to some, it seems only grotesque. In this state, he loses his intelligence and says that only someone who has sanity can understand these events. The narrator asks himself throughout the tale where do the perverseness come from and whether it is innate to man, because, in the beginning, he loved his cat, Pluto. The cat's intelligence is said to be scary to his wife's eyes and, in addition, the narrator refers to him several times in the story as a huge feline, "remarkably large and beautiful", aspects related to the sublime. During the story, he starts to feel something scary about his cat, which makes him start to commit atrocities against it. After that, he questions himself about his sanity. The narrator's excessive perverseness and the strange and obscure side of the cat, resemble the sources of the "Sublime" as described by Burke. In this tale, there are a lot of sources of "Sublime". This research wants to find them and show their effect. The philosophical questions presented in Poe's tale indicate, therefore, a fictional narrative focused on the ambiguities and paradoxes of passions. In the same direction, Edmund Burke, in the previous century, examined in his work the most important human passions. This research is looking for connections between Poe's fantastic tale and the aesthetic concept of "Sublime", with a thorough focus on the analysis of the colors, sounds, personalities, architecture, and general characteristics used by Poe, which can be sources of the "Sublime". Thus, this research analyses the relations between philosophy and literature. The concept of Sublime in Edmund Burke and Poe's tale The Black Cat. Esse trabalho se insere na área de Estética e na linha de pesquisa que examina as relações entre filosofia e literatura; nessa direção, ele visa analisar os aspectos do conceito de Sublime de Edmund Burke (1729-1797) que poderiam operar na interpretação do conto de Poe (1809-1849).

La poética de lo sublime y su ejecución en el videojuego contemporáneo Daniel Escandell Montiel 19 agosto 2018 Aproximación al concepto de lo sublime, desde la poética hasta la digitalidad Longino o, en su defecto, quien fuera el autor real del libro De lo sublime, datado entre los siglos I y III, estableció una teoría poética que busca explicar las razones que conducían a la grandeza de estilo, aquella de grado sumo que produce una elevación y que pulveriza como el rayo todas las cosas y muestra en un abrir y cerrar de ojos y en su totalidad los poderes del orador. Su enfoque, eminentemente literario, tuvo un gran renacer en nuestra historia moderna allá por el Neoclasicismo anglosajón del siglo XVIII y que se extendió, en un mar de matices, durante el Romanticismo. Era, en todo caso, el segundo gran revival occidental, pues el trabajo de italianos como Francesco Robortello y Presura La poética de lo sublime y su ejecución en el videojuego contemporáneo

On September 11, 2001, human bodies fell from some of the tallest buildings in the world and shattered on the pavement below. People jumped from the windows of the World Trade Center to escape fire, and this fire was sustained by the artefacts of early 21st-century technological progress: jet fuel, paper, people, and photocopiers. 9/11 was a symbolic act engaged with politics and aesthetics, but which also placed the base suffering of the human body and mind at its heart. The horror of the terrorist attacks was broadcast on television, another piece of technology deeply woven into Western consciousness. Footage of 9/11 played over and over again on multiple screens, and this footage is now easily accessible on the internet. 9/11’s images are repeated like the pop art of Andy Warhol, whose work Hal Foster describes as ‘a warding away of traumatic significance and an opening out to it’ (1996: 132). This is what occurred during 9/11, and it is what makes it an example of the sublime. Responses to 9/11 attempt to escape its traumatic consequences; but, to do so, one must accept the bodily experience of trauma. In the pages that follow, I will argue that post-9/11 intellectual discourse is informed by the “games” of ludic postmodernism, but in the non-ludic languages of trauma, the uncanny, and the sublime. Trauma theory bases itself in the human body, and I will be exploring how the sublime and the uncanny are understood as embodied in 9/11.

“I hoard therefore I am”, was the statement that I used to present my self-branding research at Artez in 2014. In the leaflet that I created as a result of my research into Obsessive Com-pulsive Hoarding I imagined myself as a pack-rat “burrowing into the fabric of experience to extrapolate treasures through consumption and digestion of my habitat”. I used this imagery be-cause this animal reminds me of my own practice of hoarding and creating my environment. Packrats are nest builders. They use materials from their environment to build nests that may preserve the materials incorporated into them for up to 50,000 years. Thus enabling scientists to study the environment that persisted at the time the nest was built. Similarly to packrats, I collect objects that are signature for the time that I live in. I use these objects as material for storytelling.

The visual stories that I create follow a certain aesthetic that I developed during the self-branding course. Initially I was inspired by observations of strategically placed garbage and placement of objects in art exhibitions. It is fascinating how random objects gain museum value through means of presentation. Objects are put against white walls, on pedestals, on elegant mannequins and inside long glass cases with backlight. In this way a space is created that focuses attention in the centre. It is this aesthetic practice that I appropriated into my own artistic work and would like to examine in this essay. Furthermore I will focus my attention on discussing the work of artists that influenced my artistic practice and the mechanism at work that adds value to trash – objects and places of no or low value – and transforms it into art.

Since "Iconoclash" (see the review above), iconoclasm and related terms have been taken as fundamental, general categories for the interpretation of pictures. This essay is part of a project to historicize that interest, which I think goes to a late twentieth- and early twenty-first-century assumption about what pictures are.

[Revised March 2013]

The essay argues that the sublime, and especially the postmodern sublime, is an intricate and unresolved concept, and that it is not often coherent or necessary to import it into discourse on contemporary art.

This was also published as “Gegen das Erhabene," in Das Erhabene in Wissenschaft und Kunst: Über Vernunft und Einbildungskraft, edited by Roald Hoffmann and Iain Boyd Whyte (Berlin: Surhkamp: 2010): 97–113.

Mémoire de Master 1 d'Etudes Cinématographiques, sous la direction de Pierre Berthomieu, Université Paris 7, 2008.
Ce mémoire retrace les liens entre le genre du 'cinéma catastrophe', souvent décrié par la critique, et ses influences picturales (des premières représentations du Déluge à la peinture romantique allemande), philosophiques (l'esthétique du sublime de Burke), et théologiques (des références bibliques aux influences païennes), témoignant ainsi de l'inscription des films dans une culture partagée sur laquelle ils peuvent se faire loquaces. Aussi, les analyses de films s'attachent-elles à relever leurs filiations spirituelles (chrétiennes, païennes, ou vitalistes), mais également à révéler leurs fréquentes difficultés à mettre en place des univers fictionnels uniformes et cohérents, leurs tentatives pour justifier l'évènement catastrophiste ne pouvant aboutir qu'au syncrétisme religieux. La thématique de la catastrophe dans le cinéma force ainsi, en retour, à poser un regard circonspect sur les 'fictions' que nous apposons au monde réel dans les efforts décousus entrepris par notre culture pour le comprendre sous le régime du sens.

L’articolo affronta il tema della fascinazione indotta dal crimine da un punto di vista culturale ponendo l’attenzione su due aspetti: la dimensione emotiva che la caratterizza e il ruolo che essa assume nella società contemporanea. Dal punto di vista delle emozioni, si ipotizza che il “sublime” costituisca l’esperienza emotiva da porre al centro del processo di fascinazione e si propone un’analisi che traccia un parallelismo tra i concetti di “sublime” (Burke), “awe” (Haidt & Keltner) e “perturbante” (Freud). Per quanto riguarda il ruolo assunto dalla fascinazione indotta dal crimine e dal sublime nella società contemporanea, si propone una riflessione intorno ai concetti di godimento, mercificazione e di effervescenza collettiva, ispirata al pensiero di Lacan e di Maffesoli.

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the Reformation, a struggle that reaches crisis proportions in the 20th century. On the one hand, this crisis is mollified by Heidegger's hermeneutical phenomenology, which argues that we are always already in a meaningful relationship to the objects of the world. On the other hand, this crisis is exacerbated when phenomenology, structuralism, and aesthetic theory directly make meaning into an object of study. . . . . . . . . These historical developments culminate with the psychoanalyst Jacques Lacan, whose non-hermeneutical phenomenology delimits a cause of meaning said to be closely linked to the core of subjectivity. Intriguingly, Lacan's work reveals meaning to be sexual in nature. By integrating his notion of sexual difference with his work in discourse theory and topology, this book demonstrates how the subject's struggle with meaning can be suspended.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GENERAL DESCRIPTION: Broadly speaking, the majority of books on Jacques Lacan focus on the earlier periods of his career. They also tend to target the psychoanalytic clinical community, or else discuss his work in various political, social, and cultural contexts. But in almost all cases these books refrain from a detailed exegesis of his actual texts. They instead prefer to comment on his theoretical apparatus as a whole before turning to its practical implications. . . . . . This book positions itself against this grain. Firstly, it closely analyzes some half-dozen key Lacanian texts. This analysis is organized under a single thematic – the question of meaning – in order to advance the reader's understanding of the trajectory of Lacan's thought across his entire career, as well as to promote the book's thesis that the field of meaning can be suspended. Accordingly, an initial chapter takes up the hermeneutical tradition from Flacius onward. This is then supplemented by a chapter which surveys phenomenological, structuralist and aesthetic theories of meaning and their differing methods of textual analysis. Together these two chapters provide a unique context for the sustained analysis of Lacan's texts which begins in the third chapter, an analysis that forms the bulk of the book's content. This contextualization potentially widens the book's appeal to any scholar wishing to explore his relationship to those textual objects he interacts with on a daily basis. And because this book assumes the reader has little to no familiarity with Lacan, the reader will find patient explanations of the basics of his theories before slowly being led up to the more difficult theories of his late years. Again the argument is that Lacan has something to offer all scholars. His work is not just reserved for psychoanalysts. . . . . . It is with his late theories that the serious student of Lacan will find the book's most original contribution. For in the fourth chapter a detailed account is provided of how Lacan derived his infamous formulae of sexuation from Aristotelian logic. These formulae are then extensively discussed against the backdrop of interpretive theory and textual analysis, showing how these formulae capture much more than just the difference between the sexes. Strikingly, this difference is also found to run through meaning itself, something the final chapter aims to demonstrate. It does this by amalgamating three key components of late-Lacan: sexuation, discourse theory and his use of topological spaces. This amalgamation is a first in the literature. But this amalgamation is not just useful in demonstrating the book's thesis. It further suggests how seemingly divergent aspects of late-Lacanian theory can be made to work together.

Dark tourism is the act of travel to tourist sites associated with death, suffering
or the seemingly macabre (Stone 2006, 146). This phenomenon is object of
increasing attention from the scientific community, which has mainly focused
on two interpretive keys. Indeed, there is 1) a more established literature that
considers the dark tourism as a form of «collective effervescence», to approach
the sacred and sublime dimension of death, 2) a set of contributions that
have dealt with the process of commodification involving some experiences
and destinations of dark tourism. It is assumed that the condition of both
can be identified in the conception of dark tourism as a carnival experience
of liminality and some possible research developments are proposed.

The paper analyzes the imagery of the Gigantomachy in Manilius' Astronomica, in two different functions: the first metaliterary and metascientific, the second in the form of mythical narration, identifying the intertextual relations with the Greek-Latin mythological subject and, inter alia, with the Augustan poetry and the Sublime poetic.

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

Le sublime ne s’établissant jamais comme la dénomination d’un courant architectural ou stylistique propre, la recherche du terme ou de l’emploi de ses effets ou caractéristiques dans l’architecture se fait dans un contexte historique en constante évolution.
Ces recherches se sont construites autour des occurrences dans le discours de Philip Johnson de la notion de sublime. C’est à travers l’étude des différents écrits et entretiens réalisés par l’architecte que ce travail de recherche s’est organisé.

La “crisis del arte como ‘ciencia europea’” fue también la crisis de la legitimidad inmanente y transcendente de los referenciales objetivo y subjetivo del fenómeno artístico. La fragmentación de la realidad y la desactualización de la metafísica significaron la falencia de toda metanarrativa basada en las ideas generales de la Naturaleza y de lo Absoluto. Las fuerzas productivas del arte ya no tuvieron cómo moderarse a través de la referencia a una facultad superior. Sin embargo, ha supervivido en el arte contemporáneo el enfrentamiento humano a lo que es enormemente más grande y/o poderoso que nuestra capacidad de comprensión y narración, sin la exigencia de una sintagmática representativa de ese acontecimiento, típica del Romanticismo y del arte moderno. La supervivencia del sentimiento de lo sublime en la sensibilidad posmoderna surge, por tanto, en la parte significativa de la producción artística contemporánea cuya manifestación ya no depende de una representación de su objeto o causa. A partir del análisis de una instalación de Richard Long y una performance del colectivo The Other, y con base en la analítica de lo sublime de Kant reconsiderada por Lyotard, esta investigación consiste en una experimentación teórica sobre las posibilidades de interpretación, crítica y análisis de estas obras del arte contemporáneo, en tanto que posibilidad juzgadora de producirse sentido, cuya afección puede evocarnos, de modo elevado, los sentimientos estéticos de placer y displacer generados en el esfuerzo racional frente a lo indeterminado y lo impresentable.

"The “crisis of art as ‘european science’” was also the crisis of the immanent and transcendent legitimacy of the objective and subjective referential of the artistic phenomenon. The Fragmentation of reality and the obsolescence of metaphysics meant the failure of any metanarrative based on the general ideas of Nature and the Absolute. The art productive forces did not have how to moderate through the reference to a higher faculty. However, has survived in the contemporary art the human confrontation with what is extremely large and/or powerful than our capacity for understanding and narration, without the requirement of a syntagmatic representative of that event, typical of romanticism and the modern art. The survival of the feeling of the sublime in post-modern sensibility emerges, therefore, in the significant part of contemporary artistic production which no longer depends on a representation of its object or cause. From the analysis of a Richard Long’s installation and a performance of the collective The Other, and based on the analytic of Kantian sublime reconsidered by Lyotard, this research consists in a theoretical experimentation on the possibilities of interpretation, criticism and analysis of these works of contemporary art, as judging possibility of producing meaning, whose condition can evoke us, high way, aesthetic feelings of pleasure and displeasure generated in rational effort opposite to the indeterminate and the unpresentable."

Il mondo ri-vissuto attraverso la mediazione del virtuale e delle sue interfacce. Un percorso che porta ad una nuova scoperta di esso: riscoperta della natura e del sublime in versione HD. L’uomo, oggi, per superare le inquietudini di un mancato rapporto col senso di eternità va in cerca della spinta che lo proietti verso l’infinito (esattamente come nel titanismo del romanticismo). Questo stato si manifesta attraverso quello che definisco come Romanticismo Digitale.

Este artigo pretende demonstrar (i) a influência exercida pela obra A philosophical enquiry into the origin of our ideas of the sublime and beautiful, de Edmund Burke, sobre o ensaio de H. P. Lovecraft, Supernatural horror in literature e, conseqüentemente, (ii) a importância da teoria burkeana do sublime como fundamento da reflexão crítica contemporânea sobre a narrativa ficcional de horror.

O presente livro debruça-se sobre o pensamento estético de Theodor W. Adorno (1903-1969) e procura esclarecer aquele que é porventura o seu desafio mais decisivo: a captação e a exploração críticas do «teor de verdade» de obras de arte. Que a verdade da arte, segundo Adorno – para quem esta questão se declina no singular, em torno de obras de arte concretas –, seja inseparável do seu potencial crítico, da sua negatividade, é insofismável. Contudo, este potencial – de que não seria possível dar conta abstraindo da imanência dos processos artísticos – revela-se irredutível aos ditames de uma arte explicitamente política.

Na esteira da insistência de Adorno na tese de que o potencial crítico e a autonomia da arte não se contradizem, a dialéctica entre verdade e aparência ocupou um lugar central na recepção da estética adorniana. Nos termos dessa dialéctica, a arte seria crítica não só na medida em que certas obras de arte exibem a negatividade do real, mas também por nelas despontar o que no meio da aparência artística escapa a essa mesma negatividade. O «teor de verdade» seria então a «aparência do não-aparente», que mais não seria do que a aparência da reconciliação de contradições históricas e sociais que atravessam tanto o plano do real quanto a esfera das artes. Ora, é para desequilibrar esta dialéctica entre verdade e aparência – e, por conseguinte, para impedir que a pesquisa de Adorno seja confundida com uma estética utópica enquadrada por uma filosofia da reconciliação – que se deslocará a atenção para o conceito de enigma.

Segundo a hipótese que norteia este ensaio, o «teor de verdade» de obras de arte jogar-se-ia no facto de estas resistirem à interpretação em virtude do seu «carácter enigmático». Em vários casos – nomeadamente nos estudos dedicados a Beethoven, Kafka, Hölderlin, Beckett e Mahler – o âmago da estética adorniana residiria no desdobramento dos efeitos críticos de um tal confronto com o «enigmático». Seguindo por vias menos trilhadas na estética de Adorno, dir-se-á que a arte não se limita a denunciar o real – sob a figura do «protesto» – ou a antecipar um outro real por vir – sob a figura da «utopia» – mas, enquanto «enigma», lança a razão numa crise de compreensão que perturba a inteligibilidade do real e, consequentemente, desloca as condições da sua possível transformação. Chega-se assim à hipótese, na qual se joga quer a singularidade quer a actualidade da proposta de Adorno, segundo a qual o seu pensamento estético constitui, a despeito da sua suposta ancoragem nas heranças filosóficas associadas aos conceitos de belo e de sublime, uma «estética do enigmático».

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

C’est grâce à une Décade de Pontigny, que Curtius, en 1922, a pu faire la connaissance de l’écrivain français Charles Du Bos. Les deux écrivains vont alors entamer une correspondance appelée à  durer jusqu’en 1935. Pourquoi Curtius sympathise-t-il avec Du Bos? Sans doute parce que Curtius et Du Bos partageaient la même vision mystique de Proust, de Hugo von Hofmannsthal et du mystique russe Viatcheslav Ivanov.

During the early 19th century, the demand for tourism grew enormously in Europe. The city of Naples, already a favored destination for the travels of 18th century intellectuals, artists and aristocrats, prepared to meet the expectations of a new audience, inaugurating a new concept of travel: no longer as just an instrument for cultural education, but also as “leisure travel”. This paper analyzes these changes , observing the emblematic case of Vesuvius, one of the major attractors and symbolic elements of the traveler‟s journey in the Gulf of Naples.
At the end of the eighteenth century those who would ascend to the crater, whether on foot or by donkey, were mostly scholars, interested in the eruptive phenomena. In subsequent years, the “scientific” representations of Vesuvius were flanked by views for 'touristic'
purposes, replicating successful formulas that had been standardized around other sites, in an earlier stage. This modification of the purposes of the journey, its users, and the related representations, in an ever-increasing promotional trend, reached its peak with the
construction of the funicular between 1870 and 1880. The very broad resonance of this development makes it emblematic of the transition from 'journey' to 'tourism'.

This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre through Gene Ray's theories of the sublime and Rosemary Laing's photograph welcome to Australia (2004), which documents the Woomera refugee detention centre, in order to offer a better understanding of what is at stake in this new mode of documentary photography.

Third Text, 28.6 (December, 2014), 555-562

Free download for those without access to Third Text:

http://www.tandfonline.com/eprint/65x3pFdkmTNRu4ZkQbj9/full

Or
http://www.tandfonline.com/doi/full/10.1080/09528822.2014.970775#.VbMVRjWzq-0

Il presente saggio intende ricostruire il nesso che unisce il percorso teologico e quello musicale/musicologico di Pierangelo Sequeri, esplicitandone anche le implicazioni pedagogiche nei termini musicoterapeutici elaborati da e in tali percorsi. Il nesso in oggetto è qui determinato, tramite l’analisi storico-teoretica – condotta da Sequeri, e in questa sede su Sequeri – dell’itinerario musicale dell’Occidente, come e con l’anagogia, in quanto struttura teoretica che consente di fruire dell’idea spirituale della musica come espressione dell’assoluto affettivo, afferrabile a partire dalla percezione del sensibile e ultimamente inafferrabile proprio in quanto sublime, inteso come inseità redentiva della creazione, emblematicamente espressa nella persuasiva e pervasiva illustrazione dell’eccezionalità di Mozart.

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's 'aesthetics' from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's 'modernism', and to the discussion of his possible relevance to contemporary artistic practices.

En el presente texto trato de mostrar el cambio que ha supuesto para el concepto de belleza poner en paralelo los conceptos de lo bello y lo sublime en el mundo moderno. Me centro de modo especial en la pérdida del potencial revelatorio adjudicado a la belleza por el pensamiento platónico y  sus  herederos  y  en  la  transferencia  de  esta  capacidad  al  concepto  de  lo  sublime  de  Kant  en adelante, si bien reducida esta capacidad al espacio inmanente. Ese cambio tendrá una influencia radical en otra serie de conceptos básicos del arte, entre ellos, el de genio

Philosophy as a method tries to identify – through logical analysis and phenomenological description – the conceptual basis of different modes of knowing and valuing. It is orientated towards constants in human experience, those features that enable the very possibility of knowing and valuing. However, whilst there are constants in experience, these are often realized differently, under different historical and cultural conditions. The realm of aesthetics is rich in such examples.  In the present Chapter , it will be explored in relation to the sublime and pictorial art (with a few references to other media).
                  I start from a radical adaptation and revision of theories set forth by Kant in his Critique of the Power of Judgment. It is then explained in detail why – despite its grounding in experiential constants - the sublime only emerges as an overt and sustained feature of aesthetic sensibility from the late eighteenth-century onwards. I then go on to consider why the sublime seems to disappear from European sensibility, only to re-emerge with great force in the postmodern era.

Qu’appelle-t-on « poétiser » à l’âge romantique ? Telle est la question que cet essai philosophique sur Gérard de Nerval adopte comme fil conducteur pour interroger la puissance de l’art et le sens de la création au sein d’une modernité désenchantée. Tendue entre sublime et mélancolie, ruines et chimères, l’écriture nervalienne réfléchit son propre geste poétique en même temps qu’elle reconfigure nos représentations de l’existence. En philosophant « avec » la littérature, cet essai entend faire droit à la singularité d’une pensée qui se tisse à même les formes, les tours et les détours des œuvres de Nerval.

We provide a review of the literature concerning aesthetic engagement (especially with literature and film) during times of distress. The objective is to offer a conceptual framework for this fledging research area and to provide a context for several manuscripts on this topic included in a Special Issue of Scientific Study of Literature (Volume 3, Issue 2). Particular attention is given to processes that arguably are distinctively aesthetic, including (1) the role of prosodic/semantic structures in the generation of local aesthetic objects within a longer narrative; (2) the identification of an affective theme through reflective consideration of a series of separate—but resonant—local aesthetic objects; and (3) the consequent emergence of poignantly bivalent feelings tinged with loss. This framework invites reconsideration of the Aristotelian conception of catharsis (understood as clarification rather than purgation), as well as examination of how poignant aesthetic engagement invites revaluation of personal priorities during moments of vulnerability.

This essay argues that curating brought back a kind of leverage that redressed the otherwise imbalanced relationship between aesthetics and ethics. Curating lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. Ever since the curatorial profession created its own niche in the art world—started, for example, in the West, in the late 1960s with curators such as Siegelaub, Szeemann, or Lippard—curating began to mediate this relationship, thus helping to activate the catalyst potential of art without having to compromise its formal aspects. More specifically, this essay explores the ways in which theories and practices of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and, with it, other ethical responsibilities, principles, and values that art forgot to address while giving ...

The “relation between art and knowledge” in Kant’s and Schopenhauer’s notion of art, which is the main subject in this study includes scrutinizing of opinion that genuine works of art can provide “a kind of” knowledge and distinguishing this kind of knowledge from other kinds of knowledge. The kind of knowledge attained from works of art that Kant and Schopenhauer define is the knowledge of the “Ideas”. The knowledge of the Ideas, unlike the conceptual knowledge, is the knowledge of the essence of things, of intuitions that certain concepts are incapacity to explain them. Ideas are similar to concepts as that both are related to universality. However there is a crucial distinction: ideas are intuitive, whereas concepts are abstract. The works of art created by genius artists as distinct from explaining the facts or things with concepts as in sciences, but can transmit of ideas by setting forth the intuitional expression of objects or facts of their subject matter. Emphasizing the knowledge attained through works of art, which is the knowledge of ideas, is crucial for demonstrating that art can acquire knowledge by conducing to revive in human mind the ideas which is intiutional, not by giving abstract or “ready – at – hand” knowledges via transmission the concepts.

Considering art as a way of attaining the knowledge of ideas as can be helpful in solution for discussions of art about what of art and evaluation of works of art, can provide the potentiality of altering even points of view to the world syn enhance people’s “cultures” by demonstrating ideas. In this study, an answer is sought to the question of how this potentiality can be realized.