Sublime et cosmologie: l’étrange alliance de l’incompréhensible et du compréhensible

This entry is part 4 of 26 in the series Vol 6-2021

Abstract – Sublime and cosmology: the strange alliance of the incomprehensible and the comprehensible.
The philosophers represented on the Pompeii mosaic meditate on the globe that lies at their feet and models the universe. The development of cosmology has since then been dazzling. Hence the astonishment, which Einstein is credited with formulating : «What is incomprehensible about the universe is that it is comprehensible.» When thought no longer concerns the simple thinkable, but the unthinkable where it is resorbed, the questioning no longer concerns the contents of science, but the limits of its possibilities.
Baldine Saint Girons reminds us that the tradition of the sublime testifies to a great cosmological sensitivity as early as the Peri hupsous of Longin. She also shows how painting reveals an anxiety about the messages of the stars, the existence of a demon at the centre of the earth, and the strangeness of a science that transmits to us an idea of the world that is out of proportion to our intuitive data. She comments in detail on Freud’s text, modestly entitled «A Difficulty of Psychoanalysis» (1917), when he relates three types of trauma: cosmological, evolutionary and psychoanalytical. Hence a conclusion touching on the sublime defined as a fulguration of the incomprehensible in the extreme of the comprehensible, according to the law of coincidence of the opposites, as defined by Nicolas de Cues.

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O Matriarcado Minoico (Keftiu) e a arcaica ausência de fronteiras entre arte, filosofia, política e religião

This entry is part 5 of 26 in the series Vol 6-2021

Abstract – This text is born more as an invitation: that to think the hypothesis of the arché (ἀρχή), original destination – of knowledges such as philosophy, dramaturgy, mythology, geometry (of Gaia and metrics; calculation of the Earth) and stereometry (de στερεός – solid and metric – calculation of contents) – as co-participant on a plan of a female deity, can become possible again, we propose the Minoan Proto Era, more precisely the island of Crete, as the most archaic cradle of our Civilization. We bet on the origin of this Civilization as marked by the performance of a Goddess whose historical period is here pointed as the Minoans, or Keftiu, in Egyptian. The main mode of action of this Goddess would be the capacity of making possible an eternal return of knowledge related to a world where mortals but also immortals are present. Who is this people whose priestesses would have existed under the leadership of a Goddess in the middle of the Mediterranean, about two millennia before the Christian Age? What we intend to do here is, from the remaining imagery records of this most archaic Civilization, that were there even before the Trojan War, to make evident an archaic art that Plato may also refer as the best art. To think this female ancestry in the Greek Civilization as marked by mysteries is already the goal of some Hellenists. Knowing that there is an abyss to the full realization of our project, namely the fact that the Minoan syllabary, the so-called Linear A, is not yet been deciphered — is important, but can not foreclose the accomplishment of our task. To jump over this abyss may one day become the mission of many? Or will our task forever be stuck in the realm of the impossible? It’s a risk we take. It will be necessary, to begin the accomplishment of our task, to answer the following question: images are or will be able to show the essence, ‘the coming to be (Γένεσς – οὐσία) of a Goddess? Plato’s answer is: No. For this philosopher, the essence, the being of each thing will be never revealed by the image that we can make of it. Recognizing the precarious and the ambitious’s character of our project will not prevent us from rethinking the foundations of our Civilization. To think this Civilization, so marked by the rise of technology in the detriment of knowledge, as based on the oblivion of the feminine will be, in end, our final task.

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Nicht-Handeln (wu wei) als politisches Prinzip. Die Kunst des Regierens bei Lao Zi und Konf uzius

This entry is part 6 of 26 in the series Vol 6-2021

Abstract. Non-action (wu wei) as a political principle. The Art of Ruling in Lao Zi and Confucius

To establish non-action as a political principle sounds like a contradiction to Western trained minds, since action is what underpins politics in the first place. In classical Chinese philosophy, however, wu wei (无为) was an ideal of political theory, recommended as a remedy for the urgent problems of the Zhou dynasties to restore social and political order. The principle is not only found in the Dao De Jing, a primarily political treatise attributed to Lao Zi. It also plays a central role in the discussions of the Kong Zi (Confucius) or in legalistic texts (e.g. the Han Fei Zi) of the pre-Qin dynasties.
In my work I will focus on the concept of wu wei in Lao Zi and Confucius. It will be explained to what extent the translation of the term with “non-action” is at least problematic and remains incomprehensible without considering the metaphysical context (such as the concepts of dao 道 or zi ran 自然). Two readings become clear, on the one hand the Confucian version of moral cultivation, on the other hand the more anarchistic version of philosophical Daoism.
Contrary to an equation with Western concepts, e.g. an ultraliberal laissez-faire state, the difference between a Confucian and a Daoist understanding of wu wei is to be developed and an attempt made to connect to contemporary discourses of political theory by means of a psychoanalytical (Lacanian) approach.

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Desassossegos atuais sobre o humanismo: uma contribuição de Martin Heidegger

This entry is part 7 of 26 in the series Vol 6-2021

Abstract: The matrix of rational thought, product of Modernity, is presented as the par excellence mode of science production, proper to a hegemonic model today. Of great effectiveness in many fields, in the humanities its totalizing presentation does not answer all the questions. I chose the question of humanism, one of the themes that Martin Heidegger presents in a discussion that took place immediately after the war, in a somewhat dangerous as well as misunderstood way of questioning concepts proper to conceptual metaphysics. In contemporary times, the restlessness about humanism and the possibilities of its understanding becomes imperative.

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“Un pensiero della soglia”. Figure dell’alterità in Simmel, Schütz e Waldenfels e politiche dell’ospitalità

This entry is part 8 of 26 in the series Vol 6-2021

Abstract: The aim of this work is to propose a concept of threshold intended both as a line that separates and that, at the same time, unites and also as a place that defines the identity of something in relation to its diversity. In this regard, we will try to delineate what Waldenfels calls “a thought of the threshold”, that is a thought that tries to account for the question of otherness. We will analyze the figure of the foreigner in the thought of Simmel and Schütz and that of the stranger in the thought of Waldenfels. The thesis we want to sustain is that otherness does not come from an external dimension but from an internal dimension. In this way, it is possible to prepare policies of openness and welcome and to outline the physiognomy of a thought of hospitality and welcome.

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Begrenzte ästhetische Freiheit als Ermöglicherin künstlerischen Handelns1

This entry is part 9 of 26 in the series Vol 6-2021

Abstract: Judith Siegmund’s contribution revolves around the possibility and necessity of a critical questioning of the aesthetically developed concept of freedom in the aesthetic attitude. It shows that in the case of art, such aesthetic freedom has been bought by separating the arts from other social fields, and suggests replacing the idea of separation with the idea of entanglement. The limitation of aesthetic freedom implied in this entanglement also affects questions of artistic action.

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Quando la politica danza. Riflessioni politiche sulla coreografia, la danza e la protesta

This entry is part 10 of 26 in the series Vol 6-2021

Abstract: What is the lesson politics can draw from dance? In the following I will not so much approach this question by focusing on dance as a genre of fine arts. Of course, as an art form, dance has always been articulated with politics: from the initial moments of ballet at the court of Louis XIV, where it was an intrinsic element of what Habermas called the representational public sphere of the court and a central element in constructing the grandiose public persona of the sovereign, via New York’s Workers’ Dance League with their intriguing slogan: Dance is a weapon in the revolutionary class struggle, to the innumerable dance events today driven by more or less radical political intentions. While it would be fascinating to present a political history of dance, this is not going to be my concern. For the start, I would like to approach the question from the opposite angle, from the perspective of politics and the role dance plays within political practices. In other words, this article will not be so much concerned with whatever is political in dance as a cultural or artistic genre, but with what might be dance-like in political acting. What happens, we will ask, when today’s sovereign, the people, start dancing publicly for reasons of protest? Only after this question has been clarified, I will return to two examples of “dancing politically” that originated from the art field – “East Side Story” by the Croatian artist Igor Grubić, and “How long is now?” by the Israeli performance collective Public Movement.

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