scholarly journals ”En sværm af skyer, som skal tænkes” – en diskussion af kultur, kunst og æstetik

2015 ◽  
Vol 3 (2) ◽  
pp. 1
Author(s):  
Martin Blok Johansen ◽  
Ole Morsing
Keyword(s):  
Real World ◽  
Educational Practice ◽  
Common Denominator ◽  
The Real ◽  
The World ◽  
The Common ◽  
Epistemological Dimension ◽  
Independent Existence

<p>These days there are many different understandings and definitions of the term aesthetics. Sometimes it is regarded as identical to the pleasing or the sensual, other times it has a more workaday meaning, being associated with e.g. a well-stocked lunch table. The common denominator, however, is that aesthetics is understood as something that can be recorded in the real world, having been assigned an independent existence. <br />The concept has thus undergone ‘ontological dumping’, by which we understand that an analytical concept has become a “thing in the world”, i.e. an epistemological state has been transformed into an ontological state. The problem with this is that what can potentially be used to understand has instead turned into something to be understood. In the endeavour not to downgrade the epistemological dimension in favour of the experiential dimension, we attempt in this article to re-establish aesthetics as an analytical concept: Something to be seen with – instead of something that is seen. In addition, we put it into perspective alongside culture and art, which we feel has undergone the same ontological dumping. The article concludes with some reflections on the implications this may have for educational practice. As its theoretical springboard, the article takes the philosopher Jean-François Lyotard, drawing its exemplary material from the Norwegian author Karl Ove Knausgård.</p>

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Messianism and UFO Sightings as Counterfactual Strategies of Enchantment of the World

2018 ◽  
Vol 14 (1) ◽  
pp. 99-109
Author(s):  
Piotr Urbanowicz
Keyword(s):  
Technological Progress ◽  
New World ◽  
Industrial Revolution ◽  
World Order ◽  
Common Denominator ◽  
New World Order ◽  
The Social ◽  
The World ◽  
The Common

Summary In this text, I argue that there are numerous affinities between 19th century messianism and testimonies of UFO sightings, both of which I regarded as forms of secular millennialism. The common denominator for the comparison was Max Weber’s concept of “disenchantment of the world” in the wake of the Industrial Revolution which initiated the era of the dominance of rational thinking and technological progress. However, the period’s counterfactual narratives of enchantment did not repudiate technology as the source of all social and political evil—on the contrary, they variously redefined its function, imagining a possibility of a new world order. In this context, I analysed the social projects put forward by Polish Romantics in the first half of the 19th century, with emphasis on the role of technology as an agent of social change. Similarly, the imaginary technology described by UFO contactees often has a redemptive function and is supposed to bring solution to humanity’s most dangerous problems.

scholarly journals Inquiry through Industrial Chemistry in Compulsory Secondary Education for the Achievement of the Development of the 21st Century Skills

2021 ◽  
Vol 11 (9) ◽  
pp. 475
Author(s):  
María Diez Ojeda ◽  
Miguel Ángel Queiruga-Dios ◽  
Noelia Velasco-Pérez ◽  
Emilia López-Iñesta ◽  
José Benito Vázquez-Dorrío
Keyword(s):  
Secondary Education ◽  
21St Century ◽  
Real World ◽  
21St Century Skills ◽  
Educational Practice ◽  
Pilot Test ◽  
Industrial Chemistry ◽  
Education Systems ◽  
The Real ◽  
The Subject

At a key moment when education systems are moving towards the development of 21st-century skills at school, we propose to develop them with a series of enquiry activities connected to the real world on the subject of Chemistry in Compulsory Secondary Education. The four selected topics have practical aspects, as they are related to industrial chemistry, and are proposed in educational practice using the 5E model. The results obtained in a pilot test with 22 students show that the context created facilitates the development of 21st century competences. It is understood that this novel proposal can be successfully employed in other contexts.

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

ON THE ISSUE OF THE “ROCK POETRY WORD” IN CONTEMPORARY RUSSIAN NOVEL. THE WORLD OF BORIS GREBENSHCHIKOV IN THE WORLD OF “DREAMS SWIMMER” BY LEV NAUMOV

2021 ◽  
pp. 96-111
Author(s):  
Yurii V. Domanskii ◽  
Keyword(s):  
Common Denominator ◽  
Russian Novel ◽  
The World ◽  
The Common ◽  
The Aesthetic ◽  
Modern Russian

The article deals with references to the work of Boris Grebenshchikov in the “Dreams Swimmer” by Lev Naumov “The swimmer of dreams” (2021). The common denominator of the system of these references is the aesthetic character of the hero’s understanding of himself in the world and the world in relation to himself, which, if not directly leads the hero to the idea of his own chosenness, then at least is a symptom of the emergence of this idea. As a result, the system of references to the songs of “Aquarium” in Naumov’s novel makes it possible to interpret the character’s worldview as a worldview based on the aesthetic concept of understanding reality. The example of the appeal of a modern Russian novel to the “word of rock” considered in the article allows us to make sure that such an inclusion contributes to the disclosure of the specifics of the character’s worldview, and the analysis of this appeal brings one closer to a deeper understanding of the text.

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

Christian Calling and the Ideal of Martyrdom in the Real World

2021 ◽  
pp. 122-159
Author(s):  
Matthew D. Lundberg
Keyword(s):  
Real World ◽  
Common Good ◽  
Just War ◽  
Christian Ethics ◽  
Moral Injury ◽  
Roman Catholicism ◽  
Enforcement Official ◽  
The World ◽  
The Common ◽  
Christian Discipleship

Setting just war reasoning into its broader context, this chapter begins by examining the logic, weight, and dangers of the “realist” traditions of Christian ethics, especially Augustine, Niebuhr, and Bonhoeffer (one often acclaimed as martyr though implicated in violent resistance). It shows how Protestant theologies of “vocation” typically sanction the sword-bearing occupations of magistrate, soldier, and law enforcement official as potentially consistent with Christian discipleship and holiness. Recent discussions of “moral injury” in soldiers are considered in relation to this “calling” of sword-bearing for the common good. In dialogue with Roman Catholicism, the chapter elaborates a Protestant conception of sainthood that acknowledges the ambiguity of the world, a conception that occasions a return to the criteria identifying Christian martyrdom.

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