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1. Dialogue and Universalism: Volume > 29 > Issue: 2
Małgorzata Czarnocka Editorial
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2. Dialogue and Universalism: Volume > 29 > Issue: 2
Maria Elena Ramos Some Relations between Ethics, Aesthetics and Politics in Contemporary Art in Times of Crisis
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The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence.
3. Dialogue and Universalism: Volume > 29 > Issue: 2
Antanas Andrijauskas Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception
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This article considers the principles of philosophical thinking in Søren Kierkegaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the traditional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy of “existential crisis,” opposing subjective will and internal changes to abstract thinking and external influences. Kierkegaard’s works initiate the critical or nonclassical stage in Western aesthetics. The main place in it is occupied by the idea of the disharmony of the world: its subjective reflection is “split” consciousness that has lost contact with the traditional concepts of harmony, humanism, goodness, beauty and philosophy of art.
4. Dialogue and Universalism: Volume > 29 > Issue: 2
Daniela Camozzi Poetry Writing as a Performative, Dialogical, and Revolutionary Act
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Creative collective actions can have the potential of true performative utterances opening windows of opportunities for new realities to emerge, for new possible worlds to be created—the realm of the arts is the realm of the “possible.” Group poetry writing can be a performative, dialogic act, and a transformative, revolutionary one as well. Collective artistic creations can break the isolation that the capitalistic patriarchal system imposes on us, helping us connect with one another, giving us hope.
5. Dialogue and Universalism: Volume > 29 > Issue: 2
Robert Elliott Allinson An Aesthetic Theory in Four Dimensions: Collingwood and Beyond
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The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience.
6. Dialogue and Universalism: Volume > 29 > Issue: 2
C. E. Emmer Kantian Beauty, Fractals, and Universal Community
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Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community with humanity. I close with an excursus on the more sombre note of Kantian sublimity which fractals can also present.
7. Dialogue and Universalism: Volume > 29 > Issue: 2
Lorena Rojas Parma The Fiction of the Beautiful: Digital Eros
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Love has always liked, as we can observe since the same lyrical beginnings, to show itself, proclaim itself, as if something vital was played in that revelation that, in a certain sense, does not stop being strange because we are talking about deep experiences of each one’s soul. Now, that showing, which has found a place of privilege, must be thought under the digital cloak that dresses Eros, and think about it, then, as digital Eros. From Plato, Eros is a desire for the beautiful, Eros loves the beautiful. Therefore, the showing itself beautiful of love, requires a reflection in relation with how we show ourselves beautiful, that is, how the possibilities of networks allow us to make, sculpt, elaborate for that purpose. Finally, this implies a revision of the fictitious and the authentic of us, what the networks allow of us.
religion
8. Dialogue and Universalism: Volume > 29 > Issue: 2
Michael H. Mitias Mysticism as a Basis of Inter-Religious Dialogue
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Some philosophers and theologians have argued that God-centeredness cannot be a condition of inter-religious dialogue for at least four reasons. First, it is an existential fact that all religions tend to view the truth of their beliefs and values as absolute. Second, all religions are embedded in radically different cultural contexts; this kind of difference undercuts the possibility of inter-religious dialogue. Third, grounding all the religions in a transcendent reality relativizes their beliefs and values. Moreover, people worship “their” God, not a neutral reality. Fourth, it is difficult to ground all the religions in a transcendent, neutral realty. This paper critically evaluates these arguments and defends the proposition that the mystical experience provides a justifiable basis for the claim that the transcendent is not only a wealth of being but also an infinite wealth of being and that the same transcendent is “revealed” in the mystical experience which underlies all the major religions. The transcendent is the common ground on which all the religions stand in inter-religious dialogue qua religions.
9. Dialogue and Universalism: Volume > 29 > Issue: 2
Evgeniy Bubnov Cognitive Empathy in the Works of Sam Harris: The Olympian Gods, Mormones and Moral Values
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The article attempts to analyze unconscious cognitive empathy in Sam Harris’ discourse. Harris equates the theology of Abrahamic religions with ancient mythology. However, the expulsion of the Numinous into the sphere of the transcendent, made possible by monotheism, gave impetus to the study of nature and led to what Max Weber called the Disenchantment. This Disenchantment, firstly, led to the discrediting of ancient myths, and secondly, to the scientism of Harris and his like-minded people.
cognition
10. Dialogue and Universalism: Volume > 29 > Issue: 2
Sheldon Richmond Post-Knowledge: The Extinction of Knowledge in Our Techno-Scientific Culture
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The monopolization of our techno-scientific culture by digital information technology, the Technopoly has unintentionally resulted in the extinction of knowledge or postknowledge, by reducing knowledge to systems of symbols—formalized algorithmic hierarchies of symbol-systems without external reference; a totalistic virtuality, or real virtuality. The extinction of knowledge or post-knowledge has resulted in two mutually reinforcing situations. One situation is the rise of a new elite of technology experts. The other situation is the dummification of people. These two mutually reinforcing situations further result in an illegitimate role reversal between people and their machines. The machines become treated as smart; people become treated as dummies. The role reversal of machines and people reinforces the monopoly of digital technology over everything. The monopoly of digital techno-scientific culture, the Technopoly, becomes accepted without question and without criticism. However, there is a way to retrieve knowledge, and that way is through restoring the (Ionian) tradition of critical discussion within all our institutions. Critical discussion can be restored by increasing democratic participation in our techno-scientific culture, which amounts to implementing a Socratic social architecture.