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Journal articles on the topic 'Spinoza's aesthetics'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Montag, Warren. "Spinoza's counter-aesthetics." Intellectual History Review 30, no. 3 (2020): 411–27. http://dx.doi.org/10.1080/17496977.2020.1732704.

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Trop, Gabriel. "Spinoza and the Genesis of the Aesthetic." Aesthetic Investigations 4, no. 2 (2021): 182–200. https://doi.org/10.5281/zenodo.5482901.

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This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A <em>genesis </em>of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This aesthetic theory would evaluate the work of art primarily in its relationship to <em>truth</em>. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – moving from the imagination, to reason, to intuition – toward a concept of aesthetic practices

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Lord, Beth. "‘A Sudden Surprise of the Soul’: Wonder in Museums and Early Modern Philosophy." Royal Institute of Philosophy Supplement 79 (October 2016): 95–116. http://dx.doi.org/10.1017/s1358246116000096.

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AbstractRecent museum practice has seen a return to ‘wonder’ as a governing principle for display and visitor engagement. Wonder has long been a contentious topic in aesthetics, literary studies, and philosophy of religion, but its adoption in the museum world has been predominantly uncritical. Here I will suggest that museums draw on a concept of wonder that is largely unchanged from seventeenth-century philosophy, yet without taking account of early modern doubts about wonder's efficacy for knowledge. In this paper I look at Descartes' and Spinoza's views about wonder and the uses and disadv

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Kretchmar, R. "Should Philosophy of Sport Matter More?" Physical Culture and Sport. Studies and Research 49, no. 1 (2010): 5–12. http://dx.doi.org/10.2478/v10141-010-0013-1.

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Should Philosophy of Sport Matter More?While the philosophy of sport has registered significant gains in stature over the past 40 years, and while its future looks bright quite apart from any enhanced interventions by ourselves, I suggest that the philosophy of sport should still matter more. The achievement of this end, I argue, can be expedited by heeding Spinoza's philosophy of unity, Merleau-Ponty's emphasis on embodiment, and Dewey's focus on the aesthetics of experience. While other philosophers and their works might be used for the same purpose, I claim that it would be difficult to fin

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Nachtigall, Jenny, and Kerstin Stakemeier. "Art Work as Life Work: Lu Märten's Feminist “Objectivity”." October, no. 178 (2021): 35–54. http://dx.doi.org/10.1162/octo_a_00438.

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Abstract “Art Work as Life Work: Lu Märten's Feminist ‘Objectivity’” highlights the feminist stakes of German feminist-materialist art historian Lu Märten's interventions in the interwar discourses on art and labor, on objectivity (Sachlichkeit), and the new media of film and radio. The essay argues that Märten's contributions to these areas sit squarely within more familiar narratives of materialist aesthetics and Weimar culture (from Walter Benjamin's epochal Artwork Essay to the Bauhaus) and that they do so on account of her heterodox reading of Marx and commitment to Spinoza's monism. In M

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Trop, Gabriel. "Spinoza and the Genesis of the Aesthetic." Aesthetic Investigations 4, no. 2 (2021): 182–200. http://dx.doi.org/10.58519/aesthinv.v4i2.11914.

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 This paper identifies an aesthetics implicit in Spinoza’s philosophy through the concept of a genesis of the aesthetic. A genesis of the aesthetic indicates that a philosophy of art is not yet fully formed in his work, but can emerge as a consequence or effect of his thought. This theory would evaluate the work of art primarily in its relationship to truth. Following the architectonics of Spinoza’s own thought, this paper constructs a progression – from the imagination, to reason, to intuition – toward a concept of aesthetic practices that aligns itself ever more closely with the freedo

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Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.

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There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philos

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Dinić-Miljković, Vesna. "The affect and its image in Gilles Deleuze's philosophy." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 1 (2021): 3–16. http://dx.doi.org/10.5937/zrffp51-28286.

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There is no perception without affection. This necessity comes from the very fact that perception measures our possible action upon things, and thereby, the possible action of things upon us. For the French philosopher Gilles Deleuze, affection occupies exactly this gap between the potentiality of action of the perceived objects and our virtual action upon them. This encounter between the affected body and the affecting body presumes the in-betweenness, an interval between a perception which is troubling in certain respects and a hesitant action. As opposed to emotion, which is directed toward

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Hetrick, Jay. "Deleuze and the Kyoto School II." Asian Studies 11, no. 1 (2023): 139–80. http://dx.doi.org/10.4312/as.2023.11.1.139-180.

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The aim of this paper is to bring Gilles Deleuze and the Kyoto School into an imaginary conversation around the idea of philosophy as a way of life, or what I call ethico-aesthetics. I first show how ethico-aesthetics in the Kyoto School modernizes the traditional notion of geidō, or ways of art, through the language of continental philosophy. Even though the discourse they construct in this respect remains less rigorous than that of the other domains of philosophy with which they engage, the ethico-aesthetic concepts of Nishida Kitarō, Nishitani Keiji, and Ōhashi Ryōsuke provide a starting po

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10

Morrison, James C. "Why Spinoza Had No Aesthetics." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 359. http://dx.doi.org/10.2307/431135.

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MORRISON, JAMES C. "Why Spinoza Had No Aesthetics." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 359–66. http://dx.doi.org/10.1111/1540_6245.jaac47.4.0359.

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Rosenthal, Arnon. "Spinoza’s Concept of ‘Wonder’ as Aesthetic Interruption." Performance Research 26, no. 5 (2021): 93–97. http://dx.doi.org/10.1080/13528165.2021.2028448.

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Fernández Bustos, Gerardo. "Afectos éticos, afectos estéticos. Tras el rastro de Spinoza." Thémata Revista de Filosofía, no. 69 (2024): 203–23. http://dx.doi.org/10.12795/themata.2024.i69.09.

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El siguiente artículo pretende profundizar en las implicaciones que tendría la filosofía de Spinoza en el campo de la estética. Así intentaremos tratar de elaborar una estética spinozista siguiendo las pautas de lo que dijo el autor en sus obras, así como lo que han sostenido sus principales comentadores. Nos introduciremos en lo que sea una obra de arte, una experiencia estética, al mismo tiempo que nos preocupamos por la imbricación entre ética y estética

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Wolf, Philipp. "Subject/Object Dualism, Humanist Aisthetics, and a Posthumanist Aesthetics of Immersion." Journal of Posthuman Studies 8, no. 2 (2024): 203–25. https://doi.org/10.5325/jpoststud.8.2.0203.

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Abstract As to historical precursors, posthuman theory confines itself to (the dualist) Spinoza and to the (anti)-moralist Nietzsche. This study aims at widening its historical horizon by first pointing to thinkers who cannot be simply subsumed under Cartesian substance dualism. Against this integrative background, Philipp Wolf will outline and exemplify contemporary and related aesthetic practices that aim at relationality to (approximately) close the gap between subject and object, inside and outside. Both the alleged mind–body and subject–object dualism, or, rather, their overcoming, are co

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Uhlmann, Anthony. "Spinoza, aesthetics, and Percy Shelley’s ‘A Defence of Poetry’." Textual Practice 33, no. 5 (2019): 721–38. http://dx.doi.org/10.1080/0950236x.2019.1581680.

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Leddy, Thomas. "Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics." Washington University Review of Philosophy 1 (2021): 53–60. http://dx.doi.org/10.5840/wurop202117.

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Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly na

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Serrano, Vicente. "SPINOZISMO E IRONÍA EN LOS AÑOS CRUCIALES DEL PRIMER ROMANTICISMO." Revista de humanidades (Santiago. En línea), no. 46 (July 2022): 153–73. http://dx.doi.org/10.53382/issn.2452-445x.607.

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This article analyzes the question of irony in the irruption of early Romanticism, in particular in the work of Friedrich Schegel. It interprets the notion of irony from a poetic and not a strictly philosophical approach, according to the reception model of Spinoza’s work, which, philosophically interpreted by post-Kantian systems, gives results quite different from the aesthetic position from which it is received by the Romantics.

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Bal, Mieke. "Facing Severance." Artiste invitée, no. 8 (August 10, 2011): 189–209. http://dx.doi.org/10.7202/1005547ar.

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In the face of the current wave of mass migration in Western Europe, we ignore one group of people affected by the departure of young people from their communities: their mothers. Not only had they seen their children leave, but they even had to support that decision — “it's for his good” — while it affected their lives with a deep loss. This prompted the author to develop a video pro ject in which the heretofore invisible mothers were given the opportunity to speak about their departed children. The installation is entirely devoted to the issue of facing: literally, indirectly, and figurative

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Fleischer, Rasmus. "Towards a Postdigital Sensibility: How to get Moved by too Much Music." Culture Unbound 7, no. 2 (2015): 255–69. http://dx.doi.org/10.3384/cu.2000.1525.1572255.

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The article explores the affective consequences of the new mode of instant access to enormous levels of musical recordings in digital format. It is suggested that this “musical superabundance” might weaken the individual’s ability to be affected by music in everyday life, while at the same time leading to a renewed interest in collective experience, in ways which are not limited to established notions of musical “liveness”. According to a theory of affect influenced by Spinoza, what is at stake is the capacity of the body to be affected by music. The article proposes that a renegotiated relati

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HaCohen, Ruth. "Sounds of Revelation: Aesthetic-Political Theology in Schoenberg's Moses und Aron." Modernist Cultures 1, no. 2 (2005): 110–40. http://dx.doi.org/10.3366/e2041102209000082.

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Ruth HaCohen (Hebrew University) explores Modernism's artistic exploration of its relationship to theology by taking up Schoenberg's late, unfinished opera Moses and Aaron. Reading that opera as a theological-political-aesthetic Tractatus in the tradition of Spinoza, HaCohen draws out the theological implications of Schoenberg's radical rethinking of formal conventions as these organize the relationship between music and text.

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Crano, Ricky. "The Joy of Following: Network Fascism and the Micropolitics of the Social Media Image." Deleuze and Guattari Studies 16, no. 2 (2022): 277–307. http://dx.doi.org/10.3366/dlgs.2022.0478.

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This article deploys Spinoza’s ethic of joy alongside Deleuze and Guattari’s exposition of micropolitics to expose how fascist desires and affects bloom and circulate through digital communications ecosystems that generally promote a diffusion or decentralisation of power. Beyond the steady barrage of alt-right content conscientiously documented by liberal journalists and progressive watchdogs, a more persistent and widespread fascist impulse permeates the very forms of some of our most banal digitally mediated acts and encounters. Rather than a sole looming authoritarian figurehead, the netwo

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Davidson, Christopher. "Producing marks of distinction: hilaritas and devotion as singular virtues in Spinoza’s aesthetic festival." Textual Practice 33, no. 5 (2019): 821–38. http://dx.doi.org/10.1080/0950236x.2019.1581687.

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Bagby, John Robert. "Aristotle and Aristoxenus on Effort." Conatus 6, no. 2 (2021): 51. http://dx.doi.org/10.12681/cjp.25682.

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The discussions of conatus – force, tendency, effort, and striving – in early modern metaphysics have roots in Aristotle’s understanding of life as an internal experience of living force. This paper examines the ways that Spinoza’s conatus is consonant with Aristotle on effort. By tracking effort from his psychology and ethics to aesthetics, I show there is a conatus at the heart of the activity of the ψυχή that involves an intensification of power in a way which anticipates many of the central insights of early modern and 20th century European philosophy. The first section outlines how Aristo

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24

Thorgersen, Ketil. "Music education as manipulation – a proposal for playing." Nordic Research in Music Education 1, no. 1 (2020): 151–66. http://dx.doi.org/10.23865/nrme.v1.2562.

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An important feature of music is its ability to affect people in unpredictable and deep ways. Music has therefore been used to oppress and (mis)lead people by dictatorships, religious leaders and supermarkets amongst others, and to help lure people into acting in ways that are beneficial for the manipulators. Such forms of ethically dubious musical manipulation happen because of the sublime potential of music to do something to people, and in such a way that they have few ways to defend themselves against it. Thus, the power of music is also the reason people seek out the unforeseen affects an

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Corrêa, Graça P. "Longing and belonging through migration: Otherness and empathy in theatre and philosophy." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (2019): 55–66. http://dx.doi.org/10.1386/peet_00005_1.

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Abstract This article examines how theatre and philosophy may critically contribute to discussing empathy towards otherness in the context of the ongoing massive surge of migration across the globe. Drawing on concepts from philosophical works by Baruch Spinoza, Henri Bergson and Jacques Derrida, it investigates how different dramaturgical techniques and aesthetics ‐ namely in Euripedes' Children of Heracles (c.430 BCE), Roland Schimmelpfennig's The Golden Dragon (2009) and Nikos Kazantzakis and Graça P. Corrêa's Christ Recrucified (1954/2018) ‐ address ethical-affective percepts such as empat

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Whittaker, Robin. "The Premier of Sally Clark’s WANTED." Canadian Theatre Review 116 (September 2003): 94–96. http://dx.doi.org/10.3138/ctr.116.013.

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It has been seven years since the last professional premiere of a Sally Clark play.1 Since then, she has directed Wasps (Vancouver Little Theatre, 1997), acted in her unpublished play The Widow Judith (University of Toronto’s Glenn Morris Theatre, 1998) and in Judith Thompson’s Perfect Pie (Nakai Theatre, 2001), taught playwriting classes and dramaturged at Nakai Theatre, and written an unpublished novel titled The Luck of the Spinozas. Known for their large casts, numerous scenes, twisted endings and unsettling dark humour, Clark’s plays have always received strong responses. The 2003 premier

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Sundén, Jenny. "Corporeal Anachronisms: Notes on Affect, Relationality, and Power in Steampunk." Somatechnics 3, no. 2 (2013): 369–86. http://dx.doi.org/10.3366/soma.2013.0103.

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Steampunk is an aesthetic technological movement incorporating science fiction, art, engineering, and a vibrant 21st century Do-It-Yourself counterculture. This article explores the feminist potentials of ‘thinking with’ steampunk as a playful, affective and decidedly political response to the present technological condition. It starts out by navigating the field of affect theory with a Deleuzian reading of Baruch Spinoza on affect, to then engage in the affective renderings of the relations, rhythms, and power of a soma-technology central to steampunks as well as their Victorian predecessors:

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Studniarz, Sławomir. "The Holy Abyss of the Absolute: Poe’s Critique of Schelling in “Morella” and “The Fall of the House of Usher”." Edgar Allan Poe Review 24, no. 1 (2023): 34–51. http://dx.doi.org/10.5325/edgallpoerev.24.1.0034.

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Abstract This article examines the impact of Schelling’s philosophy, especially his concept of the Absolute, on two of Poe’s tales: “Morella” and “The Fall of the House of Usher.” It begins with a focused overview of Schelling’s chief doctrines, in particular his famous system of identity, and because this system was forged under the influence of Spinoza’s monism, the revival of the Dutch philosopher’s ideas in post-Kantian German philosophy is also briefly discussed. The article expands on one of the outcomes of this philosophy at the turn of the nineteenth century, namely, the perceived defi

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Hirschhorn, Thomas. "An Electronic Conversation between Thomas Hirschhorn and Jacques Rancière: Presupposition of the Equality of Intelligences and Love of the Infinitude of Thought." Theory, Culture & Society 31, no. 7-8 (2014): 101–10. http://dx.doi.org/10.1177/0263276414555921.

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This article is an email conversation between the artist Thomas Hirschhorn and the philosopher Jacques Rancière that took place from December 2009 to February 2010. The images of ‘The Bijlmer Spinoza-Festival’, an artwork by Thomas Hirschhorn that occurred in the outskirts of Amsterdam in 2009, portray the levels of engagement by the local participants and the interaction with invited speakers and performers. The interview with Jacques Rancière addresses the problem of classifying collaborative art projects within the conventional categories of art and politics. It explores the vital function

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Clarke, Tim. "Morbid Vitalism." Twentieth-Century Literature 67, no. 2 (2021): 163–90. http://dx.doi.org/10.1215/0041462x-9084328.

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This essay frames Djuna Barnes’s 1936 novel Nightwood as an attempt to overcome an impasse between the discourses of hope and the discourses of despair in an interwar period in many ways preoccupied with questions of mortality. Synthesizing Decadent aesthetics and elements of Spinoza’s vitalist philosophy, Barnes produces a “morbid vitalism,” exemplified by Dr. Matthew O’Connor, by which life and death are conceived as variant expressions of a single force, and the subject is modeled as an assemblage of affects, impersonal but inherently social, that can be understood primarily through its pur

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Kim, Sungha. "The Ecological Philosophy-Aesthetics Connectivity of Naess and Spinoza - A Study on Beautiful Action through the Relation between Cognition and Practice." Korean Society of Culture and Convergence 43, no. 6 (2021): 823–43. http://dx.doi.org/10.33645/cnc.2021.06.43.6.823.

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Brinkema, Eugenie. "Of Bodies, Changed to Different Bodies, Changed to Other Forms." Somatechnics 8, no. 1 (2018): 125–36. http://dx.doi.org/10.3366/soma.2018.0242.

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This Afterword performs a close reading of the contributions of the special issue on ‘Cinematic Bodies’ in relation to their shared rethinking of a co-implicated relationship of embodiment to the cinematic, focusing on interpretive and methodological similarities and differences between the pieces. From a reading of Spinoza and Deleuze on the equivalent questions of what a body is and what a body can do, the Afterword considers how each of the contributions ultimately poses the problem of aesthetic form—issues of scale, texture, framing, montage—as essential to their rethinking of what cinemat

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Johnson, Christopher D. "On Borges’s B/baroque." Comparative Literature 72, no. 4 (2020): 377–405. http://dx.doi.org/10.1215/00104124-8537731.

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Abstract This article examines Jorge Luis Borges’s ingenious, largely dehistoricized interpretations and imitations of seventeenth-century writers typically called Baroque. It contends that the aesthetic, epistemological, and metaphysical values Borges assigns to works by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges, despite the ingenious

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Lee, Erika Yamamoto. "O campo da criação na borda entre arte e design." PORTO ARTE: Revista de Artes Visuais 26, no. 46 (2021): 27. https://doi.org/10.22456/2179-8001.118744.

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O artigo visa transparecer os conceitos-agentes constituintes que problematizam o campo da criação pela perspectiva estética, parte de noções derivadas do horizonte pós-estruturalista e se desenvolve pelo viés deleuziano inspirado por Espinosa e Nietzsche. Busca elucidar sobre as condições estratégicas que possibilitam articular o jogo da criação como fonte multiplicadora que desvia do contexto limitante do prisma régio. Se a criação na arte é pensada conforme aproximações teórico-filosóficas, cabe ao design transdisciplinar nutrir debate sobre essa temática. Essa contribuição busca ampliar a

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Buchanan, Ian. "Becoming Mountain." Revista de Filosofia Aurora 29, no. 46 (2017): 215. http://dx.doi.org/10.7213/1980-5934.29.046.ds12.

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Like the concept of the assemblage, the body without organs is much written about, but unlike the assemblage there are no specific schools of thought associated with the body without organs, much less any agreed definitions. As such, it tends to be used in a very vague manner, with most accounts of it ignoring its practical dimension and instead focusing on its aesthetic (Artaud) and philosophical (Spinoza) origins. However, Deleuze quite explicitly positions the assemblage as a contribution to an understanding of behaviour, so the purely philosophical accounts of the body without organs that

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Thorgersen, Ketil. "Possibilism and Expectations in Arts Education." European Journal of Philosophy in Arts Education 1 2016, no. 1 (2016): 96–108. https://doi.org/10.5281/zenodo.2173660.

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Published in the European Journal of Philosophy of Arts Education. Abstract: This article is an attempt to explore some thoughts regarding how different kinds and levels of expectation might (re)construct being in music education. The philosophical lenses through which this is analysed consist of a combination of a Deweyan pragmatism, the possibilistic parts of the philosophy of the Norwegian philosopher Arne Næss who draws on Spinoza and finally parts of the philosophy of Deleuze & Guettari. A claim made in the article is that it is important in arts educationto challenge the expect

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Kozhevnikov, N. N., and V. S. Danilova. "precursors and theoretical background of Kant’s philosophy: ontological and metaphysical aspects." Vestnik of North-Eastern Federal University. Pedagogics. Psychology. Philosophy, no. 3 (October 4, 2023): 84–89. http://dx.doi.org/10.25587/2587-5604-2023-3-84-89.

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The year 2024 will witness the 300th anniversary of Kant, the philosopher, whose works, according to many researchers, began modern philosophy. However, the outstanding achievements of Kant, his “Copernican revolution”, the transcendental method did not appear from scratch. The revolutionary ideas of Kant absorbed the experience of outstanding representatives of antiquity, the Middle Ages, and the New Age. The political and socio-cultural situation in Europe in the 18th century also had a certain impact on the formation of his philosophy. Among the outstanding philosophers of the preclassical

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Bøhler, Kjetil Klette, Chris Stover, Bjørn Schiermer, and Lorena Avellar De Muniagurria. "Editorial." Journal of Extreme Anthropology 7, no. 1 (2024): i—viii. http://dx.doi.org/10.5617/jea.11696.

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Recently, scholars have paid increased attention to affect as a structuring principle of political life, aesthetic engagement, cultural practice, and social formation (Ahmed 2010, Brown et al. 2019, Lutz 2017, Neuman 2007, Papoulias and Callard 2010, Sointu 2016, Thrift 2004, 2016). Inspired by Gilles Deleuze’s (1988), Baruch Spinoza’s (2002), and Brian Massumi’s (1995) theoretical focus on how bodies ‘affect and are affected by’ one another (Deleuze 1988) in social and political contexts, a turn to affect affords ways of analyzing feelings and different forms of affective engagements (Ahmed 2

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Stroyeva, Olesya V. "Mind-Body Dialectics in the Latest Science Fiction TV-Series." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 62–71. http://dx.doi.org/10.17816/vgik10262-71.

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The article is devoted to the analysis of the latest science fiction series in the context of the mind-body philosophical problems. The synthesis of theoretical knowledge and empirical science (phenomenological, psychoanalytic, neurophysical and cybernetic experience) is used for the analysis. Prospects for the development of artificial intelligence, including the issue of creating self-conscious robots, unfold not only in science fiction but also in reality thus causing the high ratings of the cyberpunk genre. The destruction of the boundary between man and machine, natural and artificial bod

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Blair, Ann, and Kaspar von Greyerz. "Physico-Theology: Religion and Science in Europe, 1650-1750." Perspectives on Science and Christian Faith 73, no. 3 (2021): 171–73. http://dx.doi.org/10.56315/pscf9-21blair.

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PHYSICO-THEOLOGY: Religion and Science in Europe, 1650-1750 by Ann Blair and Kaspar von Greyerz, eds. Baltimore, MD: Johns Hopkins University Press, 2020. 274 pages, including bibliography and index. Hardcover; $54.95. ISBN: 9781421438467. *What is physico-theology? Is it merely a peculiar term for what is more generally known as natural theology? Physico-theology makes its clearest first appearances in John Ray's Wisdom of God Manifested in the Works of Creation (1691), Miscellaneous Discourses (1692), and Three Physico-Theological Discourses (1713). It also appears in William Derham's Physic

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Kodalak, Gökhan. "Spinoza’s affective aesthetics: Art and architecture from the viewpoint of life." Interstices: Journal of Architecture and Related Arts, November 22, 2021, 64–72. http://dx.doi.org/10.24135/ijara.vi.674.

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There is a peculiar aesthetic undercurrent traversing Baruch Spinoza’s philosophy, harbouring untapped potentials and far-reaching consequences for contemporary discussions on aesthetics. The relationship between aesthetics and Spinoza’s philosophy, however, has been nothing but a huge missed encounter, resulting in the publication of only a few books and a handful of articles throughout a vast period of more than three-and-a-half centuries. Which begs the question: might there be, despite our persistent negligence, much more to the relationship of Spinoza and aesthetics than first meets the e

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Irsyadi, Achmad Naufal, Althafurrahman Althafurrahman, and Nala Maziya Fitriyah. "Intellectuality and Artistic Aspect of Author in the Concept of Spinoza's Rationalism (Expressive-Typography on Indonesian New-Age Poem)." Journal of English Language Teaching, Linguistics, and Literature Studies 2, no. 2 (2022). http://dx.doi.org/10.30984/jeltis.v2i2.2068.

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Intellectuality and Artistic Aspect of Author in the Concept of Spinoza's Rationalism(Expressive-Typography on Indonesian New-Age Poem). Typography is a rarecourse in the study of literature. Sometimes, it is neglected. In this study, webelieved that all parts of literary work contained valuable marks that could benefithumans and the development of literary studies. Most studies commonly focusedon how an author used figurative language in his work, not typography. In thisstudy, we investigated and observed in nature intellectuality and aestheticpreference of Wiji Thukul in the construction of

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Sparrow, Tom. "Plasticity and Aesthetic Identity; or, Why We Need a Spinozist Aesthetics." Nordic Journal of Aesthetics 22, no. 40-41 (2011). http://dx.doi.org/10.7146/nja.v22i40-41.5199.

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This essay defends the view that, as embodied, our identities are necessarily dependent on the aesthetic environment. Toward this end, it examines the renewal of the concept of sensation (aisthesis) in phenomenology, but then concludes that the methodology and metaphysics of phenomenology must be abandoned in favor of an ontology that sees corporeal identity as generated by the materiality of aesthetic relations. It is suggested that such an ontology is available in the work of Spinoza, which helps break down the natural/ artificial and human/nonhuman distinctions, and can thereby engender an

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Oliveira, Andreia Machado, Felix Rebolledo Palazuelos, and Tânia Mara Galli Fonseca. "INTERACTIVITY BETWEEN BODIES AND MILIEUS WITHIN TECHNO-AESTHETIC ART OBJECTS." Psicologia & Sociedade 29 (2017). http://dx.doi.org/10.1590/1807-0310/2017v29148036.

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Abstract Relations consist of processual interactivity between bodies and milieus which do not differentiate between the natural and the artificial, human and non-human. Our paper seeks to problematize the experience of the encounter with an artwork seen as a techno-aesthetic object constitutive of interactivity and addresses the idea of degrees of interactivity as produced with and within an artwork as an associated milieu. In this sense, we posit various degrees of interactivity in a relational experience: mixtures, attractions, embodiments and perceptions. Thus, interactive processes are dr

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Cocker, Emma. "From Passivity to Potentiality: The Communitas of Stillness." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.119.

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Drawing on my recent experience of working in collaboration with the artist-led project, Open City, I want to explore the potential of an active and resistant - rather than passive and acquiescent – form of stillness that can be activated strategically within a performance-based practice. The article examines how stillness and other forms of non-productive or non-teleological activity might contribute towards the production of a radically dissenting – yet affirmative – model of contemporary subjectivity. It will investigate how the performance of stillness within an artistic practice could off

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Nesher, Dan. "On Kant doing philosophy and the Peircean alternative." Semiotica, March 29, 2023. http://dx.doi.org/10.1515/sem-2022-0022.

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Abstract In my work on Kant’s Transcendental epistemology, I criticize his three Critiques and show that none of them can solve the problems that Kant endeavored to solve and he even, in a way, admitted it. In the first Critique, Kant attempts to solve the difficulties of the Cartesian Idealism and Humean Empirism, in combining them mechanically in his own Transcendental formalism and Sensual matter without being able to bridge the gap between them. In the second Critique, Kant endeavored to make his Practical Reason of the a priori pure fact of formal morality into free moral conduct to mater

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Killeen, Padraic. "Ecology, Materialism, and Transfiguration." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3173.

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Introduction An ecologically responsive parable about biological mutation in a post-apocalyptic environment, David Cronenberg’s Crimes of the Future (2022) was hailed on release as a “dream-noir” (Ehrlich), a “sci-fi noir” (Oller), and a “body-noir” (“Crimes”). The use of the term ‘noir’ here is enigmatic. As is often the case, the term is deployed to address a quality that otherwise resists easy identification. Noir has, of course, acquired a multitude of connotations and aesthetic legacies over the years. As I have observed elsewhere, one of those legacies is a concern with the physicality o

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Wilson, Shaun. "Magic and Metamodernism." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3008.

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Introduction Magic has a long and controversial history grafted through the occult, entertainment, and cultural mythology. Its agency, when thought of as a mechanism of storytelling, reconciles an oscillation between natural and unnatural phenomena in as much as magic has historically been weaponised against “society’s most marginal members” (Marshall). Yet there is no substantial investigation of magic in metamodern theory that considers the nature of magical power a critical component of a metamodern affect in contemporary art. As such, this article will argue that magic in this regard posit

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Na, Ali. "The Stuplime Loops of Becoming-Slug: A Prosthetic Intervention in Orientalist Animality." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1597.

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What are the possibilities of a body? This is a question that is answered best by thinking prosthetically. After all, the possibilities of a body extend beyond flesh and bone. Asked another way, one might query: what are the affective capacities of bodies—animal or otherwise? Philosophers Gilles Deleuze and Félix Guattari focus on affectivity as capacity, on what the body does or can do; thinking through Baruch Spinoza’s writing on the body, they state, “we know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into compositio

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Drummond, Rozalind, Jondi Keane, and Patrick West. "Zones of Practice: Embodiment and Creative Arts Research." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.528.

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Introduction This article presents the trans-disciplinary encounters with and perspectives on embodiment of three creative-arts practitioners within the Deakin University research project Flows & Catchments. The project explores how creative arts participate in community and the possibility of well-being. We discuss our preparations for creative work exhibited at the 2012 Lake Bolac Eel Festival in regional Western Victoria, Australia. This festival provided a fertile time-place-space context through which to meet with one regional community and engage with scales of geological and histori

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