Gadamer,Heidegger, play,art and the appropriation of tradition

Abstract

The present paper is an investigation into the links between Gadamer’s conception of the mode of being of art in terms of ‘play’, and related models in the thought of some of his philosophical precursors, notably Kant and Heidegger. Due attention is given to the shift, in Gadamer’s work, to a less subject-oriented approach to art, compared to those of Kant and Schiller, and the extent to which his own views were shaped by Heidegger’s move away from subjectivism is emphasized. The place of the concept of ‘tradition’ in Gadamer’s work is also examined with a view to casting light on his own appropriation of the (art-)philosophical tradition. Lastly, an interpretation of a specific instance of innovative art practice (the multi-installation, Body II - Sublimation, which was exhibited at this year’s KKNK at Oudtshoom, South Africa) is attempted in light of what the investigation into ‘art as play’ and the role of tradition has yielded.     

Contemporary Art and Contemporary Sport in the Arabian Peninsula

ABSTRACT

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, including technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism.     

Richard Wagner and the Birth of The Birth of Tragedy 1

Abstract

Nietzsche writes that the ‘real task’ of The Birth of Tragedy is to ‘solve the puzzle of Wagner’s relation to Greek tragedy’. The ‘puzzle’, I suggest, is the intermingling in his art and writings of earlier socialist optimism with later Schopenhauerian pessimism. According to the former the function of the ‘rebirth of Greek tragedy’ in the ‘collective artwork’ is to ‘collect’, and so create, community. According to the second the function of the artwork is to intimate a realm ‘beyond’ this world of pain and death. The audacity of The Birth is that it attempts to show that Wagner can have his cake and eat it: the ‘Dionysian’, musical, element provides a ‘metaphysical comfort’, while the ‘Apollonian’, verbal, element draws a ‘veil of oblivion’ over the metaphysical, thereby allowing the artwork to solidify community. Contrary to the standard Anglophone view, this perspective on The Birth shows that Nietzsche’s intimate association with Wagner during the period of its creation lies at the heart of its philosophical content.     

Visualizing thought at work. Review of Alyssa DeBlasio: The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema

Alyssa DeBlasio’s book The Filmmaker's philosopher - Merab Mamardashvili and Russian cinema presents Merab Mamardashvili’s philosophy seen through the eyes of film directors who were directly or indirectly influenced by his lectures. With a detailed analysis of eight films, the book brings together a generation of filmmakers who translated Mamardashvili’s message into cinematic language, performing an experiment through which we might see an alternative mode of thought at work. By showing how Mamardashvili’s considerations of metaphysical, epistemological and moral nature shine through in the films described, DeBlasio touches upon one of the pillars of Mamardashvili’s thought: art is, together with philosophy, a privileged language for recording each own’s experience of the field of consciousness.

     

Inheritance,Originality and the Will: Bergson and Heidegger on Creation

Abstract

In the work of Henri Bergson and Martin Heidegger we find different responses to traditional ideas of ‘creation’. Bergson advances a philosophy of creation, wherein ‘creation’ is presented as the production of a ‘radical’ or ‘absolute’ novelty, not only in art, but in all forms of human experience and biological life. Heidegger, in contrast, comes to criticise ideas of ‘creation’ in art as the expression of an alienated ‘humanism’ and ‘subjectivism’ essential to the modern age. This paper illuminates this divergence by showing how Bergson and Heidegger, despite appearances, grapple with the question of art-production – and with the attendant issues of inheritance and originality – in similar ways. It is only in recognising this proximity, I argue, that it is possible to perceive adequately what essentially distinguishes their approaches: Bergson’s conception of creation as a function of the will.     

Addicts to artists: The ‘good enough mother’ in the substance abuse clinic

Psychodynamic psychotherapy has had a bad reputation in substance abuse circles. Despite widespread use of behavioral interventions, outcomes remain relatively poor. The emerging trend is to incorporate relational and other psychodynamic approaches into addiction treatment. The article describes use of Winnicott's concepts of the ‘good enough mother’ and ‘play space’ in an outpatient ‘art group’.     

TheoArtistry: practical perspectives on ‘theologically informed art’

ABSTRACT

This article reviews the TheoArtistry Composers’ Scheme (2016–2018), in light of the developing concept of ‘theologically informed art’. Based at the Institute for Theology, Imagination, and the Arts (ITIA) (University of St Andrews), the scheme partnered emerging theologians and composers to create six new choral settings of Hebrew Bible ‘annunciations’. In addition to producing new music, the project became a practical touchstone for reinvigorating dialogues between theologians and practising artists, as well as Christians and non-Christians. First, the author assesses the scheme’s contributions to the study and practice of theologically informed art in the future. Second, she outlines some methodological issues associated with the scheme’s unique breadth of participants. Finally, she assesses ecclesiological and theological ambiguities within the scheme. The author argues that clarifying these ambiguities expands horizons for future collaborations in theologically informed art.     

Shaftesbury on life as a work of art

ABSTRACT

This paper explicates Shaftesbury’s idea that we ought to live our lives as though they are works of art. I show that this idea is central to many of Shaftesbury’s most important claims, and that an understanding of this idea enables us to answer some of the most contested questions in the scholarship on Characteristics.     

Choosing normative properties: a reply to Eklund’s Choosing Normative Concepts

ABSTRACT

The literature surrounding Horgan and Timmons’s Moral Twin Earth scenarios has focused on whether such scenarios present a metasemantic problem for naturalist realists. But in Choosing Normative Concepts, Eklund uses a similar scenario to illuminate a novel, distinctly metaphysical problem for normative realists of both naturalist and non-naturalist stripes. The problem is that it is not clear what (if anything) would suffice for the sort of ardent realist view that normative realists have in mind – the view that reality itself favors certain ways of acting and valuing. Eklund then offers a metasemantic view that he thinks can provide the best solution to this problem. In this reply to Eklund, I argue that Eklund’s treatment of the problem and his solution re-entangle metaphysical and metasemantic issues that ought to be kept separate. I also argue that there is a purely metaphysical solution to the problem at hand, which Eklund’s own solution seems to implicitly rely upon. While these criticisms do not suggest that Eklund’s positive view is false, they do undermine some of the broader lessons that Eklund hopes to draw from the view.     

Impossible obligations and the non-identity problem

In a common example of the non-identity problem (NIP), a person (call her Wilma) deliberately conceives a child (call her Pebbles) who she knows will have incurable blindness but a life well worth living. Although Wilma’s decision seems wrong, it is difficult to say why. This paper develops and defends a version of the “indirect strategy” for solving the NIP. This strategy rests on the idea that it is wrong to deliberately make it impossible to fulfill an obligation; consequently, it is wrong for Wilma to create Pebbles because doing so makes it impossible to fulfill her obligation to protect her child from harms like blindness. A challenge for the indirect strategy is the well-known “rights waiver problem”: Since Pebbles’s very existence depends on Wilma’s having made herself unable to fulfill an obligation to Pebbles, Pebbles is likely to waive that obligation. I address this problem by recasting the indirect strategy in terms of a non-grievance evil. I argue that deliberately making it impossible to fulfill a moral obligation manifests a defective attitude toward morality—an attitude which sees moral obligations as things to be dodged whenever they are inconvenient. Next, I argue that acting on this attitude is a wrong-making feature that is independent of any wrong that might be done to Pebbles. I conclude that Wilma’s decision remains wrong even if Pebbles waives any objection to it.

     

The Art Type Theory of Art

Abstract

The theory I present and defend in this paper—what I term the art type theory— holds that something is a work of art iff it belongs to an established art type. Something is an established art type, in turn, either because its paradigmatic instances standardly satisfy eight art-making conditions, or because the art world has seen fit to enfranchise it as such. It follows that the art status of certain objects is independent of what any individual or culture might say about it, while the art status of others fundamentally depends on the judgment of the art world. Because of the theory's quasi-institutional component, I conclude by defending it against four objections that have been raised against institutional definitions.     

On Why There is a Problem of Supererogation

How can it be that some acts of very high moral value are not morally required? This is the problem of supererogation. I do not argue in favor of a particular answer. Instead, I analyze two opposing moral intuitions the problem involves. First, that one should always do one’s best. Second, that sometimes we are morally allowed not to do our best. To think that one always has to do one’s best is less plausible, as it makes every morally best act obligatory. I argue that, despite its implausibility, this is the main ingredient in a traditional outlook I call ‘morality of law,’ which conceives of morality as impartial, impersonal, rule-based and obligation-based. My main point is that supererogation will always be seen as problematic if the background theory is a morality of law. This is because supererogation encapsulates a view of morality-outside-obligation, whereas morality of law centers upon obligation as its main instrument of curbing a supposedly natural human selfishness.

     

A revolutionary as a “beautiful soul”: Lev Tolstoy’s path to ethical anarchism

This article discusses Leo Tolstoy’s view of the Russian revolutionary movement. Taking as a focal point the writer’s lifelong interest in the Decembrist uprising of 1825 and particularly in the personalities of the gentry revolutionaries, the article argues that Tolstoy’s fascination for these figures was due to their superior moral qualities, rather than to their political and socioeconomic doctrines. Following Alexander Herzen, Tolstoy came to regard the Decembrists as full-fledged individualities and “beautiful souls” (in Friedrich von Schiller’s sense of the term). Thus, Tolstoy’s much debated “conversion” and subsequent attempts to transform literary art into a medium of religious and moral reform (and thus a peaceful cultural revolution) can also be viewed as extensions of his project of self-understanding and self-formation according to the model of kalokagathia provided by Russia’s aristocratic revolutionaries.

     

Deception,Catholicism, and Hope: Understanding Problems in the Communication of Unfavorable Prognoses in Traditionally-Catholic Countries

The doctor's use of deception in appropriate circumstances has commonly been considered a necessity of the medical art. Resistance to full and frank communication is typical of many traditionally Catholic countries, and particularly of Italy, a western country where Catholicism remains particularly influential. The Catholic teaching on truth and lies, and the problem of telling the truth to a severely ill patient is discussed. It is suggested that the contemporary Catholic model of gradually telling a terminal patient the truth, which looks reasonable and feasible in theory, is rarely followed in practice, as in the majority of cases the truth is not told tout court. Problems stem from the way in which medicine is currently practiced in Italy; from the synergism between Catholicism and the medical tradition's grounded paternalism; and from the ambiguity of the term ‘hope’. Catholic ethics in fact recommends that the truth must be told without destroying hope, but the Catholic meaning of ‘hope’ is very different from its meaning in current language.     

Fiction,Pleasurable Tragedy,and the HOT Theory of Consciousness

Abstract

The ‘feeling fiction problem’ asks: is it rational to be moved by what happens to fictional characters? The so-called ‘paradox of tragedy’ is embodied in the question: Why or how is it that we take pleasure in artworks which are clearly designed to cause in us such feelings as sadness and fear? My focus in this paper is to examine these problems from the point of view of the so-called ‘higher-order thought theory of consciousness’ (HOT theory) which says that the best explanation for what makes a mental state conscious is that it is accompanied by a thought that one is in that state. I examine the feeling fiction problem in light of the HOT theory and through a critique of Colin Radford's view. For example, I argue that Radford equivocates in his use of the term ‘aware’ in his response to some of the proposed solutions to the feeling fiction problem. Finally, I show how Susan Feagin's approach to the paradox of tragedy can be analysed and supported by the HOT theory.