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Journal articles on the topic 'Metaphysics of art'
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Vélez, León Paulo. "¿Relaciones entre Metafísica y Arte?" Eikasia. Revista de Filosofía 48 (March 1, 2013): 131–38. https://doi.org/10.5281/zenodo.55698.
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In this paper we intend to make visible a possible relationship between metaphysics and art, from the presuppose, in absolute terms they are the same, so that what you say is true of the metaphysical arts. However, the distinction between metaphysics and art is not feasible to show the world, especially in an artistic event such as a concert or show, but because the distinctions of the world. Try to address this issue since the concept of Sorge (cure, care) and metaphysical budgets that will eventually settled by Heidegger in <em>Sein und Zeit.</em>
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Morris, Michael. "Art and Metaphysics." Aristotelian Society Supplementary Volume 94, no. 1 (2020): 1–17. http://dx.doi.org/10.1093/arisup/akaa002.
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Abstract Artists often think of themselves as engaged in a project of understanding things. Many of those who look at, listen to, or read works of art think that they emerge from the experience with their understanding enriched. The aim of this paper is to explain what kind of understanding representational art can provide.
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Cadús, Raúl. "El paisaje como interfaz (experiencia estética y metafísica)." Revista de Filosofía Laguna, no. 47 (2020): 99–112. http://dx.doi.org/10.25145/j.laguna.2020.47.06.
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This article deals with landscape as a nexus between the aesthetic experience and the metaphysical issue of Being, in order to highlight its epistemological power linked with thinking and experiencing the Being. On the basis of a landscape analysis made from an ontological perspective, it reveals itself as a specially qualified phenomenon for the development of a Metaphysics-esthetics as an inquiring and experiencing way, enabling a reconsideration of Metaphysics as theory and practice. Firstly I present an introduction to the metaphysics-esthetics experience from a historical perspective, to expose next two ontological perspectives on landscape: a) as a part of a larger ontological chain and a subjective-objective co-production; b) as a proto-art of Nature, artwork and art of peoples.
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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.
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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.
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Davies, Stephen, and Jerrold Levinson. "Music, Art, and Metaphysics." Journal of Aesthetic Education 26, no. 2 (1992): 110. http://dx.doi.org/10.2307/3332930.
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Currie, Gregory, and Jerrold Levinson. "Music, Art, and Metaphysics." Philosophy and Phenomenological Research 53, no. 2 (1993): 471. http://dx.doi.org/10.2307/2107784.
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KIRCHNER, DANIEL, CHRISTOPH BENZMÜLLER, and EDWARD N. ZALTA. "MECHANIZING PRINCIPIA LOGICO-METAPHYSICA IN FUNCTIONAL TYPE-THEORY." Review of Symbolic Logic 13, no. 1 (2019): 206–18. http://dx.doi.org/10.1017/s1755020319000297.
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AbstractPrincipia Logico-Metaphysica contains a foundational logical theory for metaphysics, mathematics, and the sciences. It includes a canonical development of Abstract Object Theory [AOT], a metaphysical theory (inspired by ideas of Ernst Mally, formalized by Zalta) that distinguishes between ordinary and abstract objects.This article reports on recent work in which AOT has been successfully represented and partly automated in the proof assistant system Isabelle/HOL. Initial experiments within this framework reveal a crucial but overlooked fact: a deeply-rooted and known paradox is reintroduced in AOT when the logic of complex terms is simply adjoined to AOT’s specially formulated comprehension principle for relations. This result constitutes a new and important paradox, given how much expressive and analytic power is contributed by having the two kinds of complex terms in the system. Its discovery is the highlight of our joint project and provides strong evidence for a new kind of scientific practice in philosophy, namely, computational metaphysics.Our results were made technically possible by a suitable adaptation of Benzmüller’s metalogical approach to universal reasoning by semantically embedding theories in classical higher-order logic. This approach enables one to reuse state-of-the-art higher-order proof assistants, such as Isabelle/HOL, for mechanizing and experimentally exploring challenging logics and theories such as AOT. Our results also provide a fresh perspective on the question of whether relational type theory or functional type theory better serves as a foundation for logic and metaphysics.
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De Clercq, R. "The Metaphysics of Art Restoration." British Journal of Aesthetics 53, no. 3 (2013): 261–75. http://dx.doi.org/10.1093/aesthj/ayt013.
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Montiel, Jorge. "Aztec Metaphysics—Two Interpretations of an Evanescent World." Genealogy 3, no. 4 (2019): 59. http://dx.doi.org/10.3390/genealogy3040059.
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This paper contrasts two contemporary approaches to Nahua metaphysics by focusing on the stance of the Nahua tlamatinime (philosophers) regarding the nature of reality. Miguel León-Portilla and James Maffie offer the two most comprehensive interpretations of Nahua philosophy. Although León-Portilla and Maffie agree on their interpretation of teotl as the evanescent principle of Nahua metaphysics, their interpretations regarding the tlamatinime metaphysical stances diverge. Maffie argues that León-Portilla attributes to the tlamatinime a metaphysics of being according to which being means permanence and stability and thus, since earthly things are continuously changing, being cannot be predicated of them, hence earthly things are not real. I present textual support to show that León-Portilla does not read Nahua metaphysics through the lens of a metaphysics of being and thus that León-Portilla does not interpret the tlamatinime as denying the reality of earthly things. I then provide an exegetical analysis of León-Portilla’s texts to show that, in his interpretation, metaphysical concerns are intimately linked to existential questions regarding the meaning of human life. Ultimately, I argue that, in León-Portilla’s interpretation, the tlamatinime conception of art functions as poiesis, that is, as the process of aesthetic creation that gives meaning to human life.
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Bobant, Charles. "French Phenomenology of Art and Metaphysics." Phainomenon 36, no. 1 (2023): 21–32. http://dx.doi.org/10.2478/phainomenon-2023-0009.
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Abstract This article examines the relationship between French phenomenology of art and metaphysics. More specifically, it highlights four points. Firstly, French phenomenological aesthetics is characterized by a certain ignorance of the renewal of artistic questioning initiated by Anglo-Saxon aesthetics. Secondly, French phenomenology of art is a metaphysics of art, which considers that works of art contain an ontological (cosmophanic or theophanic) revelation. Thirdly, French phenomenology of art is part of the “theological turn of French phenomenology”. Authors tend towards theology or “cosmotheology”. Fourthly, French phenomenology of art, which is a metaphysics of the sensible, possesses the theoretical means to think philosophically about conceptual art.
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Louria-Hayon, Adi. "A Post-Metaphysical Turn: Contingency and Givenness in the Early Work of Dan Flavin (1959–1964)." Religion and the Arts 17, no. 1-2 (2013): 20–56. http://dx.doi.org/10.1163/15685292-12341253.
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Abstract Dan Flavin’s fluorescent light installations have long served art historians by marking the turn from the late modernist illusionist space of painting to the new immanence of specific objects. In the narration of this genealogy, the crux of minimalism, as Hal Foster calls it, rests on a nominal approach that proclaims metaphysical relations as an obstacle and calls out to evade any notion of meaning. By contrast, this essay asserts the primacy of metaphysics in Flavin’s [en]lighted work. By tracing the artist’s scholastic education, his contemporary theo-political stance, and his rejection of objecthood, I argue that Flavin was continuously preoccupied with Catholic theology and that his work is imbued with Christian iconography. Thinking alongside the fourteenth-century philosopher William of Ockham and the twentieth-century post-Husserlian phenomenology of Jean-Luc Marion, the evolution of Flavin’s light constructions proves relevant to the quandary of metaphysics and the role of theology in radical immanence. To bracket his metaphysics is to ignore the full implications of his art.
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Avramov, Nikifor. "Introduction to a Depth Ontology of Art]." Filosofiya-Philosophy 32, no. 2 (2023): 214–25. http://dx.doi.org/10.53656/phil2023-02-07.
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I present the concept of creative art as a junction of the fundamental situations that make of art – art. I shed light on the concept through connecting creation, as an impulse corresponding to the concept of φύσις, to art, as a frame corresponding to νόμος and the human form. I demonstrate that the concept, as much as it presupposes a depth ontology (possible as a metaphysically reflected ontology) speaks of categorical dyads, such as those of inner and outer, and immaterial and material. The later I consider as already grasped by the metaphysics of antiquity, according to which I therefore clarify the historical situation of my attempt: the reflection of the continuation of the metaphysical tradition through the topic of art, considering how this tradition always pushed itself against the consideration of art in its metaphysical light.
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Simpson, Daniel J. "Reframing Aquinas on Art and Morality." American Catholic Philosophical Quarterly 92, no. 2 (2018): 295–311. http://dx.doi.org/10.5840/acpq2018313147.
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Can a work of art be defective aesthetically as art because it is defective morally? Étienne Gilson and Jacques Maritain both develop Thomistic accounts of the arts based on Aquinas’s distinction between the virtues of art and prudence, but they answer this question differently. Although their answers diverge, I will argue that both accounts make a crucial assumption about the metaphysics of goodness that Aquinas denies: that moral and aesthetic goodness are distinct species, not inseparable modes, of metaphysical goodness. I propose a new way to develop a Thomistic account of the arts that begins with Aquinas’s treatment of the three inseparable modes of metaphysical goodness: the virtuous, the useful, and the pleasant. This foundation seems metaphysically, methodologically, and explanatorily prior to the accounts of Gilson and Maritain, because art is a virtue, and virtue is related to goodness, and goodness is “divided” into three inseparable modes.
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Matjus, Ülo. "Kunst uusaja täideviimise ajastul." Baltic Journal of Art History 11 (November 30, 2016): 109. http://dx.doi.org/10.12697/bjah.2016.11.06.
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The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness (Besinnung, 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit. The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness (Besinnung, 1938/1939) as well as the Contributions to Philosophy (From Enowning); (Beiträge zur Philosophie (Vom Ereignis), 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989.In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e f o r g o t t e nn e s s o f b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy. Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm, i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” (die Herrschaft der neuzeitlichen Metaphysik der Subjektivität). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art.Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft, or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved, into something that can be unconditionally ruled and commanded.The thinker himself describes this as an example of the “change” in the relationship between mankind as the subiectum and nature. Nature becomes the created (das Geschaffene) and creatable as the “nature” created by the ruling and commanding mankind. This has the character of a structure (die Anlage) as the constitutive form of presenting the machination process and its “result”: motorways, airplane hangars at airports, giant ski jumping hills, electrical power stations and artificial lakes, factory buildings and defensive structures. This character also extends to the “public” world and its spirituality. Nature becomes “beautiful” only through these structures. We are no longer confronted with the nature as it was previously conceived, i.e. as the beautiful nature that provided aesthetic enjoyment, but as the “nature” intermediated by ruling and commanding humankind. The “redesign of nature” is occurring. Nature is visible and is only through those “structures”; nature becomes something that is intermediated, i.e. unapproachable and inaccessible directly. Let’s just think about the “motorways” (die Autobahnen), which were one of the most significant “structures” after the Nazis assumed power in Germany; the closest example of which in Estonia – not ideologically and politically, but formally – is the Eastern Roundabout along with the bridge over the Emajõgi River in present-day Tartu. When stopping on the bridge from the corresponding observation niche one sees nature “in a mediated form” and does not descend from the bridge into nature, because this is “pointless”; nature has been made “approachable” and “accessible” in a better and more effective way.Understandably, that which art highlights is the character of the structure. In this context, it becomes understandable that upon the disappearance of art works, when one can no longer ask what an art work means or what its idea is, art becomes totally “meaningless”. Instead of the “meaning” of art, an experience appears that in turn requires experience training. The types of art resp. genres are also “dissolved”, remaining only in name or as irrelevant, unreal areas of activity that have arrived too late. Kitsch, which can no longer be compared to an art work, is not “bad” art, but a greater skill, and yet an empty and non-constitutive skill. – From the viewpoint of being-historical thinking, the people of the modern technological era, by satisfying the nature of the “structure” are now frames (das Ge-stell), i.e. set and demanded by the nature of modern technology – regardless of whether they know it or not, want it or not. In exactly the same way, people who “deal with the art” participate in this. That does not mean that they are guilty of anything, i.e. they are not criminals. They are not the authors of this “process” or “status”, and they also cannot halt it. The only difference is that some of the actors see what has been created and think about it. And others do not. However not seeing and not thinking is not punishable.
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Zhelezniak, Vladimir. "Metaphysics of art: diversity of approaches." Bulletin of PNRPU. Culture. History. Philosophy. Law, no. 4 (2017): 7–14. http://dx.doi.org/10.15593/perm.kipf/2017.4.01.
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Lachmann, Rolf. "From Metaphysics to Art and Back." Process Studies 26, no. 1 (1997): 107–25. http://dx.doi.org/10.5840/process1997261/226.
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Ide, Pascal. "Prolégomènes à une métaphysique de l’amour. Sources et ressources." Revista Portuguesa de Filosofia 78, no. 3 (2022): 697–754. http://dx.doi.org/10.17990/rpf/2022_78_3_0697.
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This article seeks to show the relevance of a metaphysics of love. The first part proposes a state of the art, establishing that current philosophers are increasingly interested in love, and even that some have proposed a metaphysical approach that remains more programmatic than effective. The second part shows an unexpected convergence between ten aporias posed by love and those questioning metaphysics. The third part confronts the fifth aporia – is love free or self-interested? The third part confronts the fifth aporia – is love gratuitous or self-interested? –, to decide in favor of disinterestedness, while recognizing its completion in the reciprocity or communion of persons.
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Kormin, Nikolai Aleksandrovich. "The metaphysical metaphor." Философия и культура, no. 7 (July 2021): 19–57. http://dx.doi.org/10.7256/2454-0757.2021.7.36589.
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This article aims to determine the meaning of metaphor for revealing the metaphysical foundations of aesthetics, as well as to analyze the methods reflected in the philosophy of Kant, Husserl, Heidegger, Derrida, and Mamardashvili. Their works clarify the structure of the metaphysical metaphor and its aesthetic matrix. Since old times, the aesthetic thought viewed the concept of the language of metaphor with its dual ambiguity, various metaphorical figures as the structures internally connected with the categorical reflection on the system of art; and the metaphor itself was considered as the form of semantic perception and creation of the artistic landscape. Revealing the place of aesthetics within the structure of metaphysics, the author views the aesthetic role of the metaphorical within metaphysics, complexity of interrelation between the concept of metaphor and fundamental metaphysical category of existence. The world scientific literature features numerous works that view metaphor as a rhetorical figure. However, the research of metaphysical metaphor is rare. This article is first within the Russian-language literature to outline the approaches towards the aesthetic comprehension of metaphysical metaphor, as they are reflected in the philosophy of Heidegger and Derrida. They reveal intuition of the metaphor as metaphysics, describe the representation of metaphysical metaphor of light, interpret the transcendental ego as metaphor, and elucidate the concept of the substance of metaphor. Special attention is given to the aesthetic-metaphysical interpretations of metaphor in the modern Russian philosophy.
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Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.
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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
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Guzzoni, Ute. "Heidegger: space and art." Natureza Humana - Revista Internacional de Filosofia e Psicanálise 4, no. 1 (2024): 59–110. https://doi.org/10.59539/2175-2834-v4n1-758.
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This article treats some aspects of Heidegger's understanding of the interconnection of space, art and language. Beginning from the Heideggerian problematization of the metaphysical world-view and its concept of space, the first section develops the `occuring' and `spacing' character of space and the interactive interplay of space and human beings. The second part deals with Heidegger's later thinking of the relation between space and things and those specific things which are works of art. Since human dwelling in space may be thought of as inhabiting the space of language, the last part of the article treats the interconnection of space and art-works of language. In so doing it also turns its attention to the image-character of Heideggerian thinking and the nothingness-character of space and human dwelling in the interspace between earth and sky. Keywords: Metaphysics, Space, Language, Work of art, Human dwelling place.
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Karivets, I. V. "OUT-OF-BODY EXPERIENCE, PURE BEING AND METAPHYSICS." Anthropological Measurements of Philosophical Research, no. 10 (December 21, 2016): 7–16. https://doi.org/10.15802/ampr.v0i10.87054.
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<strong>Purpose</strong><strong>. </strong>The author will show that metaphysical concepts and the concepts of empirical sciences derive from experience. The only difference is that metaphysical concepts derive from unusual experience, i.e. out-of-body experience, while empirical sciences – from usual one. The example set metaphysical concept of pure being. <strong>Methodology. </strong>In order to obtain this goal the author uses two methods. The first one is comparative method. With the help of this method the stories of men who experienced clinical death and returned to life are compared with the famous philosophers’ metaphysical statements (Plato, Descartes, and Bonaventura). The second one is transpersonal method. It helps to study the peculiarities of the extraordinary experience in the state of clinical death or mystical ecstasy. Such experience lies in experience of transcendence, pure being as light, ultimate awareness of truth, which are identical to the metaphysical statements of philosophers and mystics. These ultimate experiences belong to different people, who lived and grown in different cultures, but nevertheless metaphysical statements of philosophers or mystics and statements of the ordinary people who experienced clinical death are the same. Therefore we can say that out-of-body experience is transpersonal. <strong>Originality. </strong>Metaphysics is neither speculative nor withdrawn from experience of a human being sphere. It arises from out-of-body experience while empirical sciences – from usual experience. Therefore, metaphysical concepts, in particular, pure being, are empirical, because they are based also on (extraordinary) experience. In general, metaphysics becomes possible on the basis of out-of-body experience. <strong>Conclusions.</strong> In this article the author argues that the concepts of metaphysics are not a priori because they originate from out-of-body experience that is from the experience of the distinction between body and soul or body and mind. As a result of such experience appear, for instance, Plato’s metaphysics, Descartes’ metaphysics, and the Christian mysticism of Bonaventure, which theoretical constructs are deriving from experience of pure being (light). In this context metaphysics is seen as the path of gradual separation of a human being from his or her physical body, i.e. “the art of dying” (Plato). Therefore, the author proves that there are no a priori concepts. All concepts are aposteriori, in empirical sciences and in metaphysics as well. We simply talk about two different experiences: usual and unusual experience. The author also argues that there is direct connection between out of body experience and metaphysics, mystics. In the case of out-of-body experience, the temporary death of a human being is the cause of his/her change in perception of himself/herself and the world; it is the cause of metaphysical knowledge.
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Ferraris, Maurizio, and Francesco Consiglio. "Ontology of art as metaphysics of the ordinary." Disputatio. Philosophical Research Bulletin 1, no. 2 (2012): 106–11. https://doi.org/10.5281/zenodo.5068237.
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The possibility of defining an ontology of art —asking, therefore, which kind of things would be a work of art— follows two alternative horizons: that of a prescriptive Metaphysics (which goes back to the reflections by Heidegger in The Origin of the Work of Art, that bestows to Art an alternative truth to the scientific truth, although also endowed with a vigorous attitude of opening to reality), and that of a descriptive Metaphysics (which is satisfied —productively, on the other hand— with describing a work of art as an ordinary object).
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Alekhina, Anastasia, and Alexander Pisarev. "Enacting Technoscience: Art & Science From the Contemporary Metaphysics Perspective." Philosophical Literary Journal Logos 34, no. 1 (2024): 131–72. http://dx.doi.org/10.17323/0869-5377-2024-1-131-172.
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In the article the assumptions, strategies and possibilities of Art & Science (A&S) are considered through the prism of three types of metaphysical thinking. These types are defined by the answers to the question: why is there something rather than nothing. Thus, the analysis of classical metaphysics makes it possible to identify the basic assumptions of many A&S projects. These assumptions are borrowed by art from the public self-presentation of science and from Western common sense: there is an autonomous and definite nature, it is successfully known and mastered by science. So nature is nature, and nothing more. These assumptions are disputed by post-Kantian transcendental ontology. It opens up for A&S the opportunity to reflect upon the givenness of nature in the experience mediated by science, namely the constitution of science’s own objectivity, the social and political factors involved, as well as naturalization processes that turn scientific objects into nature things by way of erasing their origin. Nature is in the eye of the beholder. Empirical metaphysics (a number of projects from STS) sheds light on laboratory practices of nature enactment and the role of non-human actors in these processes. Nature is not only in the eye of the beholder, but also in the hands of the doer. It is assembled gathers, among other things, from the tissues of society, politics, culture, so does not oppose them from the outside. Among other things, this move allows us to define Art & Science as the enactment or performance of technoscience, since the laboratory-technical aesthetics inherent in this art is a reenactment of the part of the technoscientific network of practices and actors. In conclusion, by means of Pierre Bourdieu’s critical sociology, a hypothesis is formulated explaining why an alliance with STS may be problematic for A&S artists, and why posthumanism and new materialism are assimilated in this art in a cliched form. The technoscientifically formed world requires technoscientific enlightenment based on STS and philosophy, and A&S in alliance with them can be its art.
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Dill, Matt. "Heidegger, Art, and the Overcoming of Metaphysics." European Journal of Philosophy 25, no. 2 (2017): 294–311. http://dx.doi.org/10.1111/ejop.12165.
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Finlayson, Gordon. "Adorno: Modern Art, Metaphysics and Radical Evil." Modernism/modernity 10, no. 1 (2003): 71–95. http://dx.doi.org/10.1353/mod.2003.0010.
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Malivskyi, A. M. "CARTESIAN PERSONAL METAPHYSICS." Anthropological Measurements of Philosophical Research, no. 17 (June 30, 2020): 156–67. https://doi.org/10.15802/ampr.v0i17.206811.
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<strong>Purpose.</strong> To consider the personal nature of Cartesian metaphysics. Its implementation involves: a) outlining methodological changes in the philosophy of the twentieth century; b) analysis of ways to interpret anthropological component of philosophizing in Descartes studies; c) appeal to Descartes’ texts to clarify the authentic form of his interpretation of metaphysics. <strong>Theoretical basis.</strong> I base my view of Descartes’ legacy on the conceptual positions of phenomenology, existentialism and hermeneutics. <strong>Originality.</strong> Based on Descartes’ own concept of teaching, the author substantiates the personal nature of Cartesian metaphysics. Important prerequisites for its comprehension are attention to the ethical motive as the driving force of philosophizing and recognition of the importance of the poetic worldview. The idea of the basic role of poetics finds its meaningful confirmation in the texts of the philosopher, who interprets the main areas of philosophy (science, morality and medicine) as the forms of art. <strong>Conclusions.</strong> Based on his own vision of anthropology and metaphysics as the forms of completion of the revolution initiated by Copernicus, the author defends the idea of the constitutive presence of personality in Descartes’ metaphysics. In the process of studying the research literature, methodological guidelines are outlined in the form of the importance of personal determination of the search for truth, the key role of ethical motive and art as components of philosophizing. The thesis about the poetic form of presentation of metaphysics by Descartes as a form of fixation of its personal dimension is substantiated.
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Cappi, Alberto. "The Cosmology of Edgar Allan Poe." Proceedings of the International Astronomical Union 5, S260 (2009): 315–20. http://dx.doi.org/10.1017/s1743921311002468.
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AbstractEureka is a “prose poem” published in 1848, where Edgar Allan Poe presents his original cosmology. While starting from metaphysical assumptions, Poe develops an evolving Newtonian model of the Universe which has many and non casual analogies with modern cosmology. Poe was well informed about astronomical and physical discoveries, and he was influenced by both contemporary science and ancient ideas. For these reasons, Eureka is a unique synthesis of metaphysics, art and science.
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Vannatta, Seth. "The Problem with Conservative Art: A Critique of Russell Kirk’s Metaphysical Conservatism." Philosophies 8, no. 2 (2023): 26. http://dx.doi.org/10.3390/philosophies8020026.
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In this paper I measure the progressive potentiality of art against Russell Kirk’s notion of “normative art”. Kirk argues that good literature cultivates virtue according to a transcendent norm, a law of nature. I interrogate the extent to which this art can be conservative according to Kirk’s own meaning of conservatism and read his own conservatism against itself in an effort to show which of its tenets detrimentally supersede and contradict its others. The criticism of Kirk’s discussion of normative art makes use of Charles Sanders Peirce’s more sophisticated epistemology, metaphysics, and normative science of aesthetics. Ultimately, Kirk’s conservatism and his position on normative art rely on metaphysical dualism and the gratuitous capacity of intuition. This ends in an unjustified discounting of his principles of variety, imperfectability, prescription, and continuity and their subordination to his principle of transcendence.
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de Monthoux, Pierre Guillet. "Performing the Absolute. Marina Abramovic Organizing the Unfinished Business of Arthur Schopenhauer." Organization Studies 21, no. 1 (2000): 29–51. http://dx.doi.org/10.1177/0170840600210003.
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Performance is a way of organising for value creation. The kind of value performance art aims to generate is neither use-nor exchange-value but aesthetic value, philosophically defined as searching for `the absolute'. Philosophical esthetics, from Kant to Schopenhauer and Nietzsche, thus claims that art is the modern gateway to metaphysics. Pictures, texts and other artefacts are spin-offs of artists main function; performing the absolute. This paper illustrates this philosophical position by taking three practical examples which show how the artists Hans Makart, Herman Nitsch and Marina Abramovic — three famous performance art managers — go about organizing the supply of an art to satisfy a demand for metaphysics.
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Gäb, Sebastian. "Silvia Jonas: Ineffability and its Metaphysics." Zeitschrift für philosophische Literatur 5, no. 3 (2017): 21–32. http://dx.doi.org/10.21827/zfphl.5.3.35402.
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Kormin, Nikolai Aleksandrovich. "I. Kant: metaphysical justification of aesthetics." Философия и культура, no. 9 (September 2024): 1–65. http://dx.doi.org/10.7256/2454-0757.2024.9.71419.
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The subject of this article is a study of the problem of metaphysical substantiation of aesthetics in Kant's philosophy, conducted during the analysis of two editions of the introduction to the Critique of the Faculty of Judgment. The results of the conducted research allow us to find out to what extent Kant's interpretation of aesthetics is metaphysically loaded. For the first time since Plato and Aristotle, the metaphysical horizon opens up again in Kantian aesthetics. Special attention is paid to the consideration of the "Critique of the Power of Judgment" as the first work in the history of thought in which aesthetics appears as a system-forming element of the construction of metaphysics. Kant's aesthetics allows us to look at the current problems of the metaphysics of art again and in a new way; being a spiritual motivation for the transformation of human nature, it is something inextricably linked with the manifestation of the metaphysical in us. In domestic and foreign literature, only some approaches to this topic are outlined (V. F. Asmus, T. I. Oizerman, E. Kuenemann, etc.), the author's special contribution to the study of this topic is a holistic analysis of poorly formalized problems associated with the study of metaphysical structures of Kantian aesthetics, with the identification of relevant grounds for it. In both editions, we are talking about the metaphysical prolegomena of aesthetics as a kind of exegesis of the entire transcendental philosophy of Kant. At the same time, aesthetic reflection is embedded in metaphysics as a form of completion of the project of the entire culture of the human mind. The measurement of the aesthetic a priori leads to conclusions about ways to use means to achieve all the goals that befits humanity.
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Falkenburg, Brigitte. "Edgar Wind on Experiment and Metaphysics." Journal of Transcendental Philosophy 2, no. 1 (2021): 21–45. http://dx.doi.org/10.1515/jtph-2020-0038.
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Abstract The paper presents a detailed interpretation of Edgar Wind’s Experiment and Metaphysics (1934), a unique work on the philosophy of physics which broke with the Neo-Kantian tradition under the influence of American pragmatism. Taking up Cassirer’s interpretation of physics, Wind develops a holistic theory of the experiment and a constructivist account of empirical facts. Based on the concept of embodiment which plays a key role in Wind’s later writings on art history, he argues, however, that the outcomes of measurements are contingent. He then proposes an anti-Kantian conception of a metaphysics of nature. For him, nature is an unknown totality which manifests itself in discrepancies between theories and experiment, and hence the theory formation of physics can increasingly approximate the structure of nature. It is shown that this view is ambiguous between a transcendental, metaphysical realism in Kant’s sense and an internal realism in Putnam’s sense. Wind’s central claim is that twentieth century physics offers new options for resolving Kant’s cosmological antinomies. In particular, he connected quantum indeterminism with the possibility of human freedom, a connection that Cassirer sharply opposed.
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Gardner, Sebastian. "Method and Metaphysics in the Philosophy of Art." Estetika: The European Journal of Aesthetics 51, no. 2 (2014): 230. http://dx.doi.org/10.33134/eeja.125.
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Goldman, Alan H., and Jerrold Levinson. "Music, Art, and Metaphysics: Essays in Philosophical Aesthetics." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 327. http://dx.doi.org/10.2307/431408.
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Singh, Nikky-Guninder Kaur. "Corporeal Metaphysics: Guru Nanak in Early Sikh Art." History of Religions 53, no. 1 (2013): 28–65. http://dx.doi.org/10.1086/671249.
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Diment, Galya, and Gennady Barabtarlo. "Aerial View: Essays on Nabokov's Art and Metaphysics." Slavic and East European Journal 39, no. 2 (1995): 300. http://dx.doi.org/10.2307/309392.
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Siemens, Herman. "Mimesis, Metaphysics and Aesthetic Science in Baumgarten and Nietzsche's The Birth of Tragedy." MLN 138, no. 5 (2023): 1405–21. http://dx.doi.org/10.1353/mln.2023.a922031.
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Abstract: This paper investigates the notion of mimesis in Baumgarten's Meditationes (1735), the inaugural text of modern aesthetics, and Die Geburt der Tragödie , as two exemplary texts of aesthetische Wissenschaft . What meanings and functions do they give to 'mimesis' and the Aristotelian doctrine that art is an imitation ( Nachahmung, Abbild ) of nature? The main thesis is that both texts cast art as a Nachahmung of the creative principle of nature (natura naturans), rather than the order of things (natura naturata); a move that displaces traditional (static, dualistic, passive, representational) notions of mimesis with one that is dynamic, creative and tendentially anti-metaphysical, in line with the mimetic turn. They are exemplary texts of aesthetische Wissenschaft because the way they do this places them at opposite ends of metaphysics.
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Elmer, Jonathan. "Peirce, Poe, and Protoplasm." Poe Studies 52, no. 1 (2019): 29–49. http://dx.doi.org/10.1353/poe.2019.a741434.
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ABSTRACT: This article interprets a series of aborted transcriptions of "The Raven" undertaken by Charles Sanders Peirce and named by him "Art Chirography" as a species of re-mediation of Poe's poem. Attending to Peirce's knowledge of Poe's works (real and faked), the relation between sound and inscription, the power of handwriting as media phenomenon in the nineteenth century, and Peirce's evolutionary metaphysics, the essay concludes that Peirce's "art chirography" is an attempt to image the play of chance and habit-taking that lies at the heart of both Poe's poem and Peirce's metaphysics.
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Perumalil, Augustine. "God-Talk Beyond Metaphysics." Jnanadeepa: Pune Journal of Religious Studies Jan 2002, no. 5/1 (2002): 81–96. https://doi.org/10.5281/zenodo.4264820.
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The second half of twentieth century has generally been referred to as ‘postmodern.’ The term ‘postmodern’ and its derivatives like postmodernism and postmodernity refer to a movement “at once fashionable and elusive”. They reflect a shared sense of an end or at least the decline of some structure called ‘modernism’ that had been reigning supreme in the West for several centuries (Smith 1996: 3). They envelop many a discipline of knowledge, pattern of culture, expression of art, media of communication, etc. Beyond these vague characterizations when scholars and writers try to define the nature of postmodernism, they begin by first expressing their inability to carry out the task adequately
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Kaufmann, David. ""A Meaning Beyond What Its Words Can Possibly Say": Stevens, Adorno, and Metaphysical Experience." Wallace Stevens Journal 49, no. 1 (2025): 53–73. https://doi.org/10.1353/wsj.2025.a955369.
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ABSTRACT: We are so in the habit of reading modernist poetry against philosophy that we may have forgotten why. Although Wallace Stevens seems to require philosophy and the German philosopher Theodor W. Adorno is a fierce theoretician of modernism, only a few critics have brought them together. Adorno's late, paradoxical notion of "metaphysical experience" allows us to see Stevens's negative utopianism. Whereas negation serves as a critical force for Adorno, Stevens's irony leaves sound at the end of his poetry as a cypher for hope. But Stevens has no historical basis for hope. He relies on tropes lifted from religion. This is in keeping with Adorno's argument at the very end of Negative Dialectics that just as metaphysics redeemed religion at the moment of its fall, so dialectics can recapture the truth of metaphysics. As Adorno's posthumous aesthetics argues, thinking can best perform this recovery through a meditation on art—the last, if not the best, repository of hope.
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Kormin, Nikolai Aleksandrovich. "I. Kant: Aesthetics and metaphysics as a science." Философия и культура, no. 10 (October 2023): 1–53. http://dx.doi.org/10.7256/2454-0757.2023.10.43687.
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The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. In this context, it is necessary to reveal the role of aesthetics as a fundamental philosophical science, to raise its originality to theoretical consciousness by reflection. Here, first of all, the question arises about the meaning of the image of aesthetics, which is on the other side of the canvas, about the relationship of aesthetic attitudes and the world concept of philosophy. The main conclusions of the study are the provisions on aesthetics as the metaphysics of a work that produces infinity, expressing the "musical identity of all things" in the aesthetic facet of the world concept of philosophy. Aesthetics is also the feeling of the ideas of the original reality, the spiritual contemplation of superexperienced, supersensible grounds; this metaphysical a posteriori is precisely the primordial freedom of all creation, the freedom of art in contact with nature. Aesthetics is initially immersed in the fabric of metaphysical reflection, which in some cultural traditions is described as creative. And for aesthetics, the question is important, what is the structure of this principle, what is the way of dressing its mental tissue.
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Cardoso, L. "The Novel Cântico Final and the Metaphysical Value of the Art in Vergílio Ferreira: From the Novel to the Film." International Journal of Trend in Scientific Research and Development 4, no. 1 (2019): 798–801. https://doi.org/10.5281/zenodo.3606253.
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In Cântico Final, the main character, M¡rio is torn between the metaphysics of art, the physical dimension of the ruined chapel, the transcendent project of painting it, in an absolute limit situation that is his return to his native village to die. The protagonist proves to be a Vergilian instrument to demonstrate the meta physical nature of Art, translated into the transcendence immanence embodied in the Chapel. In this sense, the narrator is a fundamental piece for understanding the narrative web. In this novel, he establishes an almost metaphysical proximity to the protagonist, letting him spread the authors ideals, namely the value of the work of art. While the book systematically explores the value of art and the mystery surrounding the painting of chapels by non believing artists, the film pays little attention to it. The film is just a story of a man who painted a chapel, while the book reflects on the mission of art, in line with Malrauxs thinking. Cardoso, L "The Novel Cântico Final and the Metaphysical Value of the Art in Vergílio Ferreira: From the Novel to the Film" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-1 , December 2019, URL: https://www.ijtsrd.com/papers/ijtsrd29688.pdf
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Rockmore, Tom. "Remarks on Art and Truth." East Asian Journal of Philosophy 2, no. 2 (2023): 45–51. http://dx.doi.org/10.19079/eajp.2.2.45.
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The death of Joseph Margolis inspired this special issue. Joe, as he was fondly known, was a towering figure whose work influenced several fields of philosophy for nearly seven decades, beginning in the 1950s. Though he is perhaps best known for his work in aesthetics, which we honour here, he contributed to nearly every discipline and subfield of philosophy, from metaphysics to philosophy of language, and from philosophy of medicine to feminist philosophy.
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Jung, Nak-rim. "Pain and Art - Schopenhaur s Metaphysics of Will and the Role of Art -." Korean Philosophical Society 140 (November 21, 2016): 331–38. http://dx.doi.org/10.20293/jokps.2016.140.331.
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Moskovkina, Evgeniya Aleksandrovna. "Metaphysics of art in early stories by I. Efremov." Vestnik of Saint Petersburg State University of Culture 3 (September 2018): 48–52. http://dx.doi.org/10.30725/2619-0303-2018-3-48-52.
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Milnes, Tim. "Eclipsing Art: Method and Metaphysics in Coleridge's "Biographia Literaria"." Journal of the History of Ideas 60, no. 1 (1999): 125. http://dx.doi.org/10.2307/3654003.
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Balthasar, Johannes. "Metaphysics, Art and Language in Early Works of Nietzsche." Philosophy and History 23, no. 2 (1990): 116. http://dx.doi.org/10.5840/philhist199023295.
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KIM, HANNAH H. "Art beyond Morality and Metaphysics: Late Joseon Korean Aesthetics." Journal of Aesthetics and Art Criticism 77, no. 4 (2019): 489–98. http://dx.doi.org/10.1111/jaac.12682.
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Cooke, B. "Work and Object: Explorations in the Metaphysics of Art." British Journal of Aesthetics 51, no. 4 (2011): 443–46. http://dx.doi.org/10.1093/aesthj/ayr021.
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Milnes, Tim. "Eclipsing Art: Method and Metaphysics in Coleridge's Biographia Literaria." Journal of the History of Ideas 60, no. 1 (1999): 125–47. http://dx.doi.org/10.1353/jhi.1999.0008.
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