A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context

In this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the detached mental state as an ideal mental state for art appears to fit in with Kant’s notion of aesthetic freedom. Even though it might be claimed that sensibilities are stressed over rationality in the classical Chinese artistic tradition, I suggest that the detached mental state cultivated through Daoist or Chan Buddhist meditation and experienced in artistic practice helps artists restore a balanced human nature. By projecting Schiller’s account of the play drive, and the account of aesthetic freedom he developed from Kant’s ideas, into the classical Chinese artistic context, I attempt to explain the balanced nature realised through artistic play by classical Chinese artists and point out the differences behind the parallels between these two approaches.     

The wrong side of history

Psychoanalysis (including analytical psychology), once a pioneering and forward‐looking movement of the early 20^th century has now become a conservative backward‐looking ‘tradition’. After considering some of the internal problems associated with this historical change such as idealization and tribalism, some ways forward are suggested – a focus on clinical excellence as practical craft, openness to the unknown and engagement with others beyond the confines of private practice.     

Good education,the good teacher,and a practical art of living a good life: a Catholic perspective

What is good education? We value education for reasons connected to the good provided by education in society. This good is connected to be the pedagogical aim of education. This article distinguishes five criteria for good education based on the concept of ‘Bildung’.

Next, these five criteria are used to develop the idea of the good teacher. The rationale behind the analysis is that the good teacher should be able to realise what we consider to be good education. There are different traditions of religiously affiliated schools in the world. This article gives insight into the idea of the good teacher in two documents of the Catholic Congregation of Education on the lay teacher. Finally, the article focuses on the formation of a practical art of living a good life. Again, the five characteristics of good education structure the analysis of this type of educational formation.     

D. W. Winnicott,transitional objects and the creation of the divine

Religious expressions and religious behaviours are often considered to be mainly mental or spiritual phenomena, to a large degree divorced from or threatened by physical or material forms that may accompany their expression. This paper asks whether the diminution of the material or the condemnation of idols, icons and religious art loses sight of possible benefits that involvement with these forms of material divinity has for believers. Using the concept of transitional objects and transitional phenomena developed by D. W. Winnicott, a mid-twentieth-century psychoanalyst, I argue that idols, icons and religious art often represent transitional objects that form psychological bridges, intermediaries or anticipated “transitions” from humans to unseen divinities who require materialisation in some form to be maintained actively in the believer’s mind. In the process of creating or designing these material forms, the forms themselves often come to be considered “divine”. Illustrations are provided.     

“There’s Beauty in Brokenness”: Teaching Empathy Through Dialogue with Art

Empathy, a core element of helping skills training, is vital to the development of the therapeutic alliance and positive counseling outcomes. This article presents a classroom exercise developed to increase students’ empathy. The exercise features imaginative dialogue by members of a counselor education beginning skills class with art works in an exhibit curated by a museum educator. Presented are the details of the teaching exercise, student and faculty reflections on the exercise, and suggestions for further research.     

Short-term mood repair through art-making: Positive emotion is more effective than venting

We examined two mechanisms by which creating visual art may serve as a form of short-term mood repair. After viewing a film that induced a negatively valenced mood, participants were given a self-report affect grid that assessed mood valence and arousal. Participants then engaged in one of three tasks: creating a drawing expressing their current mood (venting), creating a drawing depicting something happy (positive emotion), or scanning a sheet for specific symbols (distraction control). Mood valence and arousal were then reassessed. Arousal remained unchanged after the interventions in all conditions. Valence became more positive in all three conditions, but the greatest improvement occurred after the positive emotion intervention. Valence improved no more after venting than after the control task. Results show that in the short-term, attending to and venting one’s negative feelings through art-making is a less effective means of improving mood than is turning away from a negative mood to something more positive. These findings are consistent with research on the beneficial effects of positive emotions and cast doubt on the often assumed view that artists improve their well being by expressing suffering.     

中国古典美学中的身体及其映像

Richard Shusterman’s Pragmatist Aesthetics: Living Beauty, Rethinking Art was published in China in 2002. In the preface of the Chinese edition, the author claimed that his tentative idea of soma esthetics was encouraged by Chinese philosophy and other ancient Asian philosophy. Shusterman’s background in pragmatist philosophy greatly constrains his understanding of the body in classical Chinese aesthetics in that he only pays attention to the technical aspects of physical training while neglecting the philosophical basis of this training. In Chinese philosophy the orientation of the body, the relationship between the body and the universe, the body characteristic of the beauty of nature and the beauty of art, etc., is a theoretical response to Shusterman’s oriental misreading. Translated by Lei Yongqiang from Wenyi Yanjiu 컄틕퇐뺿 (Literature & Art Studies), 2007, (4): 23–31     

Beauty in the blink of an eye: The time course of aesthetic experiences

Under normal circumstances, perception runs very fast and seemingly automatic. In just a few ms, we go from sensory features to perceiving objects. This fast time course does not only apply to general perceptual aspects but also to what we call higher-level judgements. Inspired by the study on ‘very first impressions’ by Bar, Neta, and Linz (2006, Emotion, 6 , 269) the current research examined the speed and time course of three aspects of the aesthetic experience, namely beauty, specialness, and impressiveness. Participants were presented with 54 reproductions of paintings that covered a wide variety of artistic styles and contents. Presentation times were 10, 50, 100 and 500 ms in Experiment 1 and 20, 30 and 40 ms in Experiment 2. Our results not only show that consistent aesthetic judgements can be formed based on very brief glances of information, but that this speed of aesthetic impression formation also differs between different aesthetic judgements. Apparently, impressiveness judgements require longer exposure times than impressions of beauty or specialness. The results provide important evidence for our understanding of the time course of aesthetic experiences.     

Opicinus de Canistris: some notes from Jung's unpublished Eranos Seminar on the medieval Codex Palatinus Latinus 1993

Abstract: Jung held an informal seminar for a limited number of students after the end of the Eranos Conference in August, 1943. All traces of this seminar were lost until the notes taken on it by one of the students, Alwine von Keller, were found in 2006. Jung's talk consisted of a psychological commentary on a series of images in the medieval Codex Palatinus Latinus 1993, attributed to Opicinus de Canistris (1296‐c.1352), a fourteenth‐century Italian clergyman, mystic, miniaturist, and cartographer. Jung interpreted Opicinus’ images as a series of mandalas in which the Shadow, the dark principle, does not manage to be integrated into a balanced system. Opicinus tried to settle this division into opposites, which constitutes the main problem in modern times, while remaining inside the system of Christian doctrine. However, he did not succeed in his attempt to integrate the principle of the Shadow on the doctrinal level because he was not aware of the very same division in his own unconscious. Our article points out the features in the seminar where Jung seemed to show much more originality in his interpretation than other psychoanalytic studies on Opicinus or other analytical‐psychological readings of medieval Christian art.