Music,Nature and Ineffability

In the final chapter of his Ineffability and Religious Experience, Guy Bennett-Hunter proposes that the ineffable may be ‘bodied forth’ through works of art and ritual, and hence engage with our lives. By way of supporting this proposal, this paper discusses some relationships between experiences of music and of natural environments. It is argued that several aspects of musical experience encourage a sense of convergence or intimacy between human practice and nature. Indeed, these aspects suggest a codependence between culture and nature. The paper continues by proposing that a sense of this co-dependence fosters the further sense of cultural and environmental experience as an integrated whole whose ‘ground’ must be entirely mysterious and ineffable. It is concluded that, if this is right, then music and other cultural practices indeed bring the ineffable into engagement with human life.     

Semantics and the sacred

ABSTRACT

This article looks at four different scholarly perspectives on ‘sacred’ – the ineffable sacred, the experienced sacred, the polarized sacred and the contextualized sacred – in order to draw out their implicit presuppositions about meaning. The first two stances presuppose that meaning depends on what bits of language are about (referentialism), and the other two stances presuppose that meaning depends on relations between bits of language (holism). The article concludes three things: these prominent views of ‘sacred’ rest on usually implicit or unrecognized assumptions about the nature of meaning; some of those assumptions explain why certain theories are contentious and problematic and others ground more promising and productive approaches.     

GENETIC ENGINEERING AND THE SACRED

Abstract. Genetic engineering of life forms could well have a profound effect upon our sense of the sacred. Integrating the experience of the sacred as George Bataille does, we can characterize it as a phenomenological encounter with prelinguistic, noncategoreal experience. This view of the sacred is similar to Friedrich Nietzsche's Dionysian experience or Rudolf Otto's mysterium tremendum and diminishes one's sense of self. It seems similar to the eighteenth‐century aesthetic categorization of “the sublime.” Despite the dominant rational approach to religiosity in the United States, intimations of this experience persist in popular culture. What possible relationship does genetic engineering have to this allegedly inevitable and profound experience? If certain modifications of life occur, they are likely to create such an experience of the sacred in us. In principle, we can now resurrect the mammoth or even create beings designed to directly potentiate our experience of the numinous such as satyrs or centaurs. The creation of such beings could become an art form associated with awaking the sacred, in turn appropriated by religion, as art has always been. Such experimentation, though morally questionable, is probably inevitable.     

Exemplarization: a solution to the problem of consciousness?

In recent publications, Keith Lehrer developed the intriguing idea of a special mental process??exemplarization??and applied it in a sophisticated manner to different phenomena such as intentionality, representation of the self, the knowledge of ineffable content (of art works) and the problem of phenomenal consciousness. In this paper I am primarily concerned with the latter issue. The target of this paper is to analyze whether exemplarization, besides explaining epistemic phenomena such as immediate and ineffable knowledge of experiences, can also solve the ontological problem of consciousness. In particular, Lehrer suggests that if we consider exemplarization, zombies cannot provide an argument for anti-physicalism. I argue that exemplarization offers neither a physicalist explanation of the conceivability of zombies nor an elucidating physicalist account of their impossibility. Therefore, exemplarization cannot offer a physicalist solution to the ??hard problem?? of consciousness.     

Ineffability,Signification and the Meaning of Life

Abstract

There is an apparent tension between two familiar platitudes about the meaning of life: (i) that ‘meaning’ in this context means ‘value’, and (ii) that such meaning might be ineffable. I suggest a way of trying to bring these two claims together by focusing on an ideal of a meaningful life that fuses both the axiological and semantic senses of ‘significant’. This in turn allows for the possibility that the full significance of a life might be ineffable not because its axiological significance is ineffable, but because its semantic significance is ineffable in virtue of the signification relation itself being unsignifiable. I then explore to what degree this claim about signification can be adequately defended.     

Defining the sacred in fine art and devotional imagery

ABSTRACT

Beginning with a definition of the sacred as a two-fold process of making things special, which consists of accentuation and affiliation, this essay proceeds to argue that things are made sacred in devotional piety and in fine art in parallel ways that configure images within webs of agents. The two kinds of imagery perform in practices of sacralization that move toward different ends. The production of aura is at work in each case, but operates with distinct aims. The essay then presents a historical account of fine art as a modern development tied to the rise of the nation-state, in which secularization extended to making art independent of religious institutions and patrons, allowing it to develop in a way that should be distinguished from devotional imagery. This does not mean that religion withers in the modern era, but that art developed its own mode of sacralization.     

Touching God in his Image

The essay defends praying with images (icons) against those who claim this type of prayer is objectionable. The hermeneutical defence consists of three arguments. (a) First I observe that people relate to ordinary photos in ways that cannot be explained in terms of the image's sign‐value (or similitude) alone. (b) Second, I develop an account of praying with images as a form of symbolic practice. (c) Finally, in order to bolster my account, I compare icons with a particular class of symbolic objects, viz. relics. The general idea I put forward is that icons have to be understood as expressions of the reality they represent, and not simply as accurate or inaccurate visual representations of that reality. Icons are not created by human hands; instead, the hand of the painter is the instrumental cause of God's self‐expression, via the painter, on the canvas.     

Entanglement of Imaging and Imagining of Nanotechnology

Images, ranging from visualizations of the nanoscale to future visions, abound within and beyond the world of nanotechnology. Rather than the contrast between imaging, i.e. creating images that are understood as offering a view on what is out there, and imagining, i.e. creating images offering impressions of how the nanoscale could look like and images presenting visions of worlds that might be realized, it is the entanglement between imaging and imagining which is the key to understanding what images do. Three main arenas of entanglement of imag(in)ing and the tensions involved are discussed: production practices and use of visualizations of the nanoscale; imag(in)ing the future and the present; and entanglements of nanoscience and art. In these three arenas one sees struggles about which images might stand for nanotechnology, but also some stabilization of the entanglement of imag(in)ing, for example in established rules in the practices of visualizing the nanoscale. Three images have become iconic, through the combination of their wide reception and further circulation. All three, the IBM logo, the Foresight Institute’s Nanogear image, and the so-called Nanolouse, depict actual or imagined technoscientific objects and are thus seen as representing technoscientific achievements – while marking out territory.     

Icons,Liturgy, Saints: Ecological insights from Orthodox spirituality1

The technical language and specific images that we adopt when we speak about preservation of the natural environment depend on values and images that we promote and even presume in our daily behaviour and lifestyle. In Orthodox Christian spirituality, such language and images certainly play a crucial role. This presentation considers the central importance of: 1) the world of icons as the way we view and perceive creation; 2) the beauty of liturgy as the way we celebrate and respond to creation; and 3) asceticism in the lives of the saints as the way we respect and treat creation. It draws on classic Orthodox Christian texts as well as contemporary literature to provide fundamental spiritual insights into the way we comprehend God's creation and the way we should confront its exploitation in modern times.     

Incongruent Names: A Theme in the History of Chinese Philosophy

This essay is meant to shed light on a discourse that spans centuries and includes different voices. To be aware of such trans-textual resonances can add a level of historical understanding to the reading of philosophical texts. Specifically, we intend to demonstrate how the notion of the ineffable Dao 道, prominently expressed in the Daodejing 道德經, informs a long discourse on incongruent names (ming 名) in distinction to a mainstream paradigm that demands congruity between names and what they designate. Thereby, we trace the development of the idea of the ineffable Dao quite differently from modern mystical interpretations. We show how, in an early Chinese context, it first gives rise to a sociopolitical critique of the incongruity underlying socially constructed names in the Zhuangzi 莊子, then to a discourse on the incongruity between moral virtues and names in Xuanxue 玄學 philosophy, and eventually to Sengzhao’s 僧肇 claim that a perceived congruence of names with things does not entail actual congruence between names and reality.     

The Critical Reception of Michelangelo's ‘The Last Judgement': The Theological Context

Abstract

Considered here will be the question of how the hostility of the clerical elite in sixteenth-century Italy to Michelangelo's Sistine Chapel ‘Last Judgment’ may be explained. The problem arose from the many nude figures that the fresco contained. Why was nudity in Church so unpopular with the clerical elite in 1541 and for sixty years afterwards, bearing in mind that it had not raised an outcry in roughly similar circumstances earlier in the century? No real answers to these questions are to be found either in the Trent Decree on sacred images, or in the work of such sixteenth-century critics as Gilio da Fabriano. This study aims to shed more light on the matter. Some help is forthcoming from modern writers like Romeo de Maio and Bernardine Barnes. They emphasize the leading role of the ‘Theatine’ prelates, but without exposing the basic assumptions on which the ‘Theatine’ attitude depends. These basic assumptions can be probed to assess whether the objection was only to nudity in sacred spaces or to nudity tout court, and with particular reference to the argument of one theologian—Catharinus—who opted for comprehensive restrictions. In an argument directed against the Erasmian view of marriage, Catharinus identified Erasmus as a Pelagian and summarized the Augustinian argument against the Pelagians. His emphasis is on the fundamental depravity of all human beings after the Fall, a depravity that involved the stigmatization of the body and particularly of the sexual organs, since sin is a sexually transmitted disease. The upshot is that much of the human body is only presentable when veiled. In other words, nude art—'pagan art'—is not compatible with the Christian ethos.     

Knowing How to Talk About What Cannot Be Said: Objectivity and Epistemic Locatedness

I take it that A. W. Moore is right when he said that ‘Wittgenstein was right: some things cannot be put into words. Moreover, some things that cannot be put into words are of the utmost philosophical importance’. There is, however, a constant threat of self-stultification whenever an attempt is made to put the ineffable into words. As Pamela Sue Anderson notes in Re-visioning gender in philosophy of religion: reason, love, and epistemic locatedness, certain recent approaches to ineffability—including Moore’s approach—attempt to find a ‘third way’ of engaging with it, which displaces the traditional dichotomy between the effable and the ineffable, that is, between what can be said and what cannot be said. In this way, they seek to overcome the threat of self-stultification mentioned above. Still, one important challenge to this kind of approach, which Moore addresses, is, as he puts it, ‘to show how it is possible’ to talk about the ineffable ‘without belying its very ineffability’. His solution to the problem of the ineffable takes the notion of ‘knowing how’ to play a central role, and is formulated in accordance with his commitments to truth and objectivity. A further important challenge to the kind of approach to the ineffable Moore proposes concerns the issue of objectivity. In Re-visioning gender in philosophy of religion, Anderson draws attention to our epistemic locatedness, which brings in questions concerning, for example, gender and culture. Pursuing this view, the challenge is to show ineffable insight without ignoring our epistemic locatedness and, in particular, the role of gender in the conceptualisation and imagery through which we seek to come to terms with the ineffable. My paper deals with these challenges. By engaging with Moore’s and Anderson’s discussions of the ineffable, I examine how it is possible to talk philosophically about the ineffable, without breaking a commitment to enlarged or objective thinking, and without ignoring the epistemic locatedness of thinking.     

Sacred Circle: Symbol of Wholeness in Traditional Persian Art and Architecture

Jung wrote extensively about the archetypal mandala symbol as an expression in many cultures of the centrality and nature of the interplay between human consciousness and divine consciousness. This article investigates—how in Persia, for millennia—the archetypal symbol of the mandala has been widespread in many expressions of the sacred arts. My research outlines the importance of the archetypal mandala symbol in Persian religio-aesthetic history from the first unearthed stone carvings of Persia's ancient foundations until the more recent, breathtakingly marvellous ceilings of traditional Persian architecture today. From the artistic expressions of first religious beliefs of ancient Persia—Mithraism—and through the development of the Zoroastrian faith until the subsequent rise of Christianity and then Islam, Persian sacred art illustrates the Jungian idea that wholeness sought in the journey of individuation is often expressed through archetypal symbols of circles that articulate basic truths about the divine interplay with humanity.     

Emerging Worldviews: The Supplicate Order—Invocation of the Sacred

Approaches to supplication, such as faith and single-minded devotion to an ultimate value or deity, are proposed to constitute the human interface between the manifest and the unmanifest. A reciprocal, resonant interchange between the unmanifest and human summoning of the holy can bring the sacred to expression in cultural forms and personal experience. Addressing the boundaries between the human and the divine, this paper presents a cross-cultural model for spiritual supplication. This model utilizes the anthropological term ritual frame and provides an integrative worldview with which to examine the dynamics of sacred contact and invocation. This suggests that supplication is the universal and fundamental human orientation to invoke the reception of profound healings, as well as spiritual blessings, cross-cultural understandings and innumerable gifts of creativity.     

Metaphor and Maṇḍala in Shingon Buddhist Theology

Buddhist maṇḍala that are made of colored sand or are painted on cloth have been well represented in Asian art circles in the West. Discussions of the role that they can play in stimulating religious contemplation or even as sacred icons charged with power have also appeared in English scholarship. The metaphorical meaning of the term maṇḍala, however, is less commonly referenced. This paper discusses how the founder of the Japanese school of Shingon Buddhism, the Buddhist monk Kūkai of the ninth century, uses this term in a metaphorical sense to convey the transformed nature of awareness that is the ultimate goal of Buddhist practice. Emphasis is also placed on the importance of metaphorical thinking to the religious path of transformation itself.

Holos: A collaborative environment for similarity-based holistic approaches

Through this article, we aim to introduce Holos—a new collaborative environment that allows researchers to carry out experiments based on similarity assessments between stimuli, such as in projective-mapping and sorting tasks. An important feature of Holos is its capacity to assess real-time individual processes during the task. Within the Holos environment, researchers can design experiments on its platform, which can handle four kinds of stimuli: concepts, images, sounds, and videos. In addition, researchers can share their study resources within the scientific community, including stimuli, experimental protocols, and/or the data collected. With a dedicated Android application combined with a tactile human–machine interface, subjects can perform experiments using a tablet to obtain similarity measures between stimuli. On the tablet, the stimuli are displayed as icons that can be dragged with one finger to position them, depending on the ways they are perceived. By recording the x,y coordinates of the stimuli while subjects move the icons, the obtained data can reveal the cognitive processes of the subjects during the experiment. Such data, named digit-tracking data, can be analyzed with the SensoMineR package. In this article, we describe how researchers can design an experiment, how subjects can perform the experiment, and how digit-tracking data can be statistically analyzed within the Holos environment. At the end of the article, a short exemplary experiment is presented.     

HUMANISM AND THE MEANING OF LIFE

This paper addresses two related questions: 1. Does human life have a purpose? and 2. Is human life intrinsically valuable? Clearly human beings have personal, communal and common purposes, but we cannot know whether there is an external transcendent purpose in addition to these. However the argument that mundane purposes are meaningless without transcendent purposes, though valid, rests on false premises. There are four ways of explaining the intrinsic value of life. The first (pantheism) is the idea that human life is sacred because everything is sacred. A second is that life is intrinsically valuable because something else is valuable and indeed sacred – the idea, for instance, that mankind is made in the image of God. The third is that human life lacks value because of its contrast with the sanctity of the gods. The humanistic explanation is that human life as such has intrinsic value. There are (at least) six reasons for holding that human life is intrinsically valuable; these reasons are given.     

Art,Empathy and the Divine

Religious art can reconfigure our conception of God’s omniscience. This should be seen in terms of divine understanding, with empathy and love required for God’s understanding of human beings. §I surveys reasons to think that God can empathize with us. §II and §III consider different ways that religious art has attempted to represent such empathetic relations. There are images of Christ’s suffering that elicit empathy in the viewer, and there are depictions of God’s empathetic understanding of humanity. §IV and §V consider the epistemic roles of art and how religious art can reconfigure how we think of God’s omniscience.     

Touching the Virgin. On the politics of intimacy in Jean-Luc Godard's Hail Mary

This paper is guided by a conviction common to Godard and Merleau-Ponty: namely, that the special power of art is its ability to show up for us the invisible, what was previously unseen, and thereby to shape intimately, to transform, our own perceptions of the world. Art can thereby bring us into a more intimate contact with reality. With reference especially to Godard's film Hail Mary, the paper argues that Godard distinguishes between two ways of approaching the human body: on the one hand, it can be approached as prostituted thing – which has the effect of developing in the prostituted person a kind of absence to herself and to others, a dispossession of herself and an anesthesia to her own and others' affective life. On the other hand, the human body can be approached as sacredly human – in which case we will touch that body very differently, expressing our presence to its embodied divinity precisely by withdrawing our touch and leaving space for its own desires. It is proposed that Godard's filmmaking aims at precisely this kind of withdrawal and letting be, and that thereby he awakens his viewers to, makes them more intimate with, the sacred in the human.