Violence and Prospect-Refuge Values

1987 ◽  
Vol 65 (2) ◽  
pp. 343-352 ◽  
Author(s):  
Paul Swartz
Keyword(s):  
Urban Environment ◽  
The Self ◽  
Landscape Aesthetics ◽  
Institutional Reforms ◽  
The World ◽  
The Aesthetic ◽  
Forms Of Violence ◽  
Near Future ◽  
Social Circumstance

Appleton's prospect-refuge theory of landscape aesthetics is joined to Kupfer's treatment of the more contemporary forms of violence as aesthetic projects. The insufficiency in the modern urban environment of good opportunities to see without being seen stresses the present and near future into heightened feelings of vulnerability, adding with untoward social circumstance to activate more extreme measures to secure an advantage in our dealings with the world. From the standpoint of prospect-refuge theory, violence directed to asserting the self as someone who matters is a misbegotten effort to unstress the present and near future. Violence valued only for the aesthetic satisfaction in dismembering persons and things to formlessness suggests an attempt to kill time. As the likelihood of violent incidents increases, revisions in the prospect-refuge map together with institutional reforms become more urgent.

scholarly journals Ethics in Classical Hindu Philosophy: Provinces of Consequence, Agency, and Value in the Bhagavad Gītā and Other Epic and Śāstric Texts

Religions ◽  
2021 ◽  
Vol 12 (11) ◽  
pp. 1029
Author(s):  
Jessica Frazier
Keyword(s):  
The Self ◽  
Aesthetic Theory ◽  
Bhagavad Gita ◽  
Ethical Implications ◽  
Emergent Phenomena ◽  
The World ◽  
The Aesthetic ◽  
The Individual ◽  
Bhagavad Gītā ◽  
Interpersonal Concerns

The idea of a univocal property of ‘goodness’ is not clearly found in classical Sanskrit sources; instead, a common ethical strategy was to clarify the ontological nature of the self or world in such a way that ethical implications naturally flow from the adjustment in our thinking. This article gives a synoptic reading of sources that treat features of ethics—dispositions, agents, causal systems of effect, and even values themselves—as emergent phenomena grounded in complex, shifting, porous configurations. One conclusion of this was that what ‘goodness’ entails varies according to the scope and context of our concern. Firstly, we examine how the Bhagavad Gītā fashions a utilitarianism that assumes no universal intrinsically valuable goal or Good, but aims only to sustain the world as a prerequisite for choice. Recognising that this pushes problems of identifying the Good onto the individual; secondly, we look at accounts of malleable personhood in the Caraka Saṃhitā and Book 12 of the Mahābhārata. Finally, the aesthetic theory of the Nāṭya Śāstra hints at a context-constituted conception of value itself, reminding us that evaluative emotions are themselves complex, curate-able, and can expand beyond egoism to encompass interpersonal concerns. Together these sources show aspects of an ethical worldview for which each case is a nexus in a larger ethical fabric. Each tries to pry us away from our most personal concerns, so we can reach beyond the ego to do what is of value for a wider province of which we are a part.

Appearance In-Itself, Data-Propagation, and External Relationality: Towards a Realist Phenomenology of »Firstness«

2016 ◽  
Vol 7 (1) ◽  
pp. 45-60
Author(s):  
Mark B.N. Hansen
Keyword(s):  
Charles Sanders Peirce ◽  
Human Experience ◽  
The Self ◽  
Data Propagation ◽  
The World ◽  
The Status ◽  
The Aesthetic

Drawing on American philosopher Charles Sanders Peirce›s »phaneroscopy«, and particularly on its point of disjunction from more orthodox phenomenology concerning the status and necessity of reception, this article argues that today’s databases phenomenalize the aesthetic dimension of worldly sensibility. Although database phenomenalizing explicitly substitutes for the phenomenalizing performed by consciousness on standard accounts of phenomenology, the important point is that it does so without severing contact with human experience. What is ultimately at stake here is the status of the phenomenon itself: insofar as it hosts the self-manifestation of the world without necessarily manifesting it to anyone or anything, the phenomenon can be disjoined from its subjective anchoring in consciousness (or any of its avatars) and ascribed to the operationality of worldly sensibility itself. </br></br>Gestützt auf die sog. »phaneroscopy« des amerikanischen Philosophen Charles Sanders Peirce und insbesondere auf ihre Differenz zur orthodoxeren Phänomenologie in Bezug auf den Status und die Notwendigkeit der Rezeption argumentiert dieser Beitrag, dass die heutigen Datenbanken die ästhetische Dimension weltlicher Sinnlichkeit phänomenalisieren. Auch wenn die Phänomenalisierung durch Datenbanken diejenige durch Bewusstsein explizit ersetzt, bleibt es bedeutsam, dass dies geschieht, ohne den Kontakt mit menschlicher Erfahrung abzubrechen. Worum es letztlich geht, ist der Status des Phänomens selbst: Insoweit es die Selbst-Manifestation der Welt beherbergt, ohne sie notwendigerweise für irgendjemand oder irgendetwas zu manifestieren, kann das Phänomen von seiner subjektiven Verankerung im Bewusstsein (oder jedem seiner Avatare) gelöst werden und der Operationalität weltlicher Sensibilität selbst zugeschrieben werden.

Das Regime des Ästhetischen

2019 ◽  
Vol 95 (1) ◽  
pp. 91-102
Author(s):  
Diana Lohwasser
Keyword(s):  
Mass Media ◽  
Social Life ◽  
The Self ◽  
Aesthetic Perception ◽  
The World ◽  
Assessment Systems ◽  
The Mass Media ◽  
The Aesthetic ◽  
The Individual ◽  
Influence Perceptions

Abstract The Regime of the Aesthetic As a preliminary, the text deals with the question of what can be understood by a regime of the aesthetic. The aesthetic regime generates patterns of perception that guide people in their behavior and actions. The regime of the aesthetic oscillates between social regression and emancipation. The regression of the individual aesthetic perception of the world and of the self is evident in all areas of social life. Through the mass media, the aesthetic regime has the ability to manipulate people and influence perceptions and judgment. The ability of the self to defend itself against manipulation regresses. The adoption of given perception, explanation and assessment systems makes life easier than having to question contexts. The difficult task is to emancipate oneself from the regressive aesthetic regime. Referred to Rancière, it requires an ›emancipated viewer‹ capable of emancipating itself from the assigned structures of an aesthetic regime. This endeavor represents an infinite task.

scholarly journals The aesthetics of vision in the poem of supplication in the models of the poetry of Asir region: جماليات الرؤيا في قصيدة المناجاة في نماذج من شعر منطقة عسير

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Taher Massad Saleh Al - Jaloub - Abdul Hamid Saif Ahmed Al -
Keyword(s):  
The Self ◽  
Poetic Discourse ◽  
The World ◽  
The Subject ◽  
The Absolute ◽  
The Aesthetic ◽  
Asir Region ◽  
The Relationship ◽  
Study Plan

  This study is based on the hypothesis that the vision of the poem (the evangelism)- the transfer of the self- confessed mysteries to the divine self- is its aesthetic peculiarity, which distinguishes it from the vision of other poetic models such as the poem of the spinning, the praise and the lamentation for mere representation. The choice was made to test this hypothesis on the poetry of the Asir region; to clarify the specificity of the vision of the poem in the fabric of its texts; interacting with a striking intimacy with the values ​​of the poet's spiritual surroundings, which leads poets to speak to the divine; Thus, the study reduced its problem with the question: What is the aesthetic peculiarity of a poem in the poetry of Asir? The nature of the subject dictated to the researcher to adopt the mechanism of discourse- according to the theories of critic Henry Mishonic- whose task is to clarify the relationship between the structures of poetic discourse, and the specificity of the self- poet involved. The study plan consists of an introduction, a preface, two papers, and a conclusion. The second is the world of the divine self, which is characterized by the absolute ability to resolve the rift, and the second is the world of the divine self, Serenity, support for the defeated, and the relief of the Mujahedeen.

scholarly journals Magical Aspects in Chandra Shyam Dangol's Stone Sculptures

2021 ◽  
Vol 2 (4) ◽  
pp. 55-65
Author(s):  
Yam Prasad Sharma
Keyword(s):  
Research Method ◽  
Aesthetic Experience ◽  
Research Area ◽  
The Self ◽  
Surface Level ◽  
The World ◽  
Thesis Statement ◽  
The Aesthetic ◽  
The Individual ◽  
The Universe

Chandra Shyam Dangol's stone sculptures are magical and mystical suggesting supernatural and spiritual aspects related to wisdom and enlightenment. Unusual images and symbols have been put together. On the surface level, the combination appears strange and contrary but as we go through the myths related to the artworks, we find the underlined logic and coherent composition. The recurrent icons, images and symbols are the figures of deities, lotus, mudras (gestures) and asanas (postures) of meditating characters that are combined in an unusual manner.  They provide a sense of miraculous and thrilling spiritual experience. Breaking the monotony of mundane material existence, the works renew our perception. The aesthetic experience leads toward the awareness of the self and the universe and inspires for the harmonious existence of the individual in the world. Because of the mythical and spiritual contents, the sculptures appear to be mystical. The research area covers the stone sculptures of Chandra Shyam Dangol. About a dozen sculptures have been observed for the research but only four works have been interpreted in this paper. The paper attempts to trace the magical elements in his compositions and throw light on their significance. The study follows the qualitative research method to support the thesis statement since the interpretation of artworks may be multiple depending on viewers, time and place.

Piktoriale Reflexivität–(Nach-)Denken über Bilder als Denken in Bildern

2010 ◽  
Vol 55 (2) ◽  
pp. 101-113
Author(s):  
Simone Mahrenholz
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
The Self ◽  
States Of Affairs ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
20Th Century Art ◽  
Self Reference

Der Text untersucht, inwiefern wir von »bildlichem Denken« sprechen können, insbesondere mit Bezug auf Kunst: Denken in Bildern also statt allein in Worten. Er verbindet diese Frage mit dem Konzept der konstitutiven Reflexivität der Kunst. Hierfür werden drei Bedeutungen von ästhetischer Reflexivität unterschieden und zu einander in Bezug gesetzt (Teil I): Reflexivität der Kunst im Sinne des Bezugnehmens und damit des Thematisierens, Reflektierens von etwas außerhalb des Werks: der Welt und./.oder des Selbst (R1), ferner Reflexivität im Sinne des materialen Selbst-Rückbezugs des Werks auf Züge seiner selbst (R2) sowie Reflexivität im Sinne des Selbst-Rückbezugs in Form einer Transformation des Subjekts im Prozeß der künstlerischen Erfahrung (R3). Die nähere Erläuterung an Beispielen zeigt, daß und inwiefern diese drei Formen zwar immer interagierend präsent sind, jedoch in verschiedenen Epochen und Stilen mit deutlich unterschiedlichen Akzentuierungen (Teil II). Abschließend wird die These aufgestellt (Teil III), daß diese Folge von Reflexivitäts-Akzenten Entwicklungen in der Kunst des 20. Jahrhunderts spiegelt.<br><br>The text examines forms of »pictorial thinking«, in particular with regard to artworks: thinking »in pictures« as analogous to thinking in words. It relates this topic to the concept of reflexivity in art. Three forms of aesthetic reflexivity are distinguished and related to each other (part I): reflexivity in the sense of reflecting, thematizing states of affairs outside the work: the world and./.or the self (R1), second: reflexivity as material self-reference within the artwork (R2), third: reflexivity as transformation of the subject in the process of the aesthetic experience (R3). The subsequent elucidation makes evident, that these forms of reflexivity never occur alone, but interact. Nevertheless, depending on the epoch and style of the work in question, distinctive emphases and accentuations arise, one of which generally dominates the others: (part II). As an upshot, the text suggests that this succession of reflexivity-forms from R1 to R3 mirrors developments in 20th century art (part III).

scholarly journals Walking, Body, and The City: Pleasure and The Co-formation of The Self and The City

Tuturlogi ◽  
2021 ◽  
Vol 02 (01) ◽  
pp. 1-23
Author(s):  
Mayarani Nurul Islami ◽  
Keyword(s):  
Social Media ◽  
Urban Environment ◽  
The Self ◽  
Creative Potential ◽  
Youth Movement ◽  
Primary Mode ◽  
Pleasurable Activity ◽  
The World ◽  
The City ◽  
The Way

In Surabaya, as the case of this study, road-based culture has been historically predisposing the way people inhabit the roads. It, then, leads to the ‘acceptance’ of the automobile as the primary mode of mobility. In contrast, there is an emerging youth movement who promotes walking as a way to subvert the current road-based culture and re-invent walking as creative and pleasurable activity as an alternative way of enjoying Surabaya. Through an examination of daily journals, photos, and social media documented by people joining the walking community in Surabaya City, this paper scrutinises the subversive yet creative aspects of walking as an organized activity with a view to generating new insights into the creative potential of walking. In this paper, I argue that the way people experience the world through walking is different to the way people experience the world through automobile travel, and that this generates different versions of, and attachments to, the urban environment of Surabaya.

Power of Darkness: Narrative and Biographical Reflexivity in A Series of Unfortunate Events

2008 ◽  
Vol 1 (2) ◽  
pp. 200-212
Author(s):  
ELIZABETH BULLEN
Keyword(s):  
The Self ◽  
Risk Society ◽  
Project Risk ◽  
Young Readers ◽  
The World ◽  
The Face ◽  
High Earning ◽  
Textual Culture ◽  
Children’S Exposure ◽  
Central Claim

This paper investigates the high-earning children's series, A Series of Unfortunate Events, in relation to the skills young people require to survive and thrive in what Ulrich Beck calls risk society. Children's textual culture has been traditionally informed by assumptions about childhood happiness and the need to reassure young readers that the world is safe. The genre is consequently vexed by adult anxiety about children's exposure to certain kinds of knowledge. This paper discusses the implications of the representation of adversity in the Lemony Snicket series via its subversions of the conventions of children's fiction and metafictional strategies. Its central claim is that the self-consciousness or self-reflexivity of A Series of Unfortunate Events} models one of the forms of reflexivity children need to be resilient in the face of adversity and to empower them to undertake the biographical project risk society requires of them.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

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