Towards a synthesis of Art,Science and Spirituality—Notes on transdisciplinarity

This article, originally meant for an Auroville publication, consists mainly, besides the quotations, of a wide range of suggestions related to a transcultural approach to various questions raised by transdisciplinary research. All these suggestions converge on a central focus; the virtual reality of a subject/object interaction that eludes narrow disciplinary restrictions as well as rigid cultural definitions. Here, significantly, etymology seems to lead towards mythical cultural watersheds, just as philology has been offering clues to some fundamental philosophical discoveries, from Nietsche to G. Colli. The recent impact of Orientalist studies leads further into the same initiatic dimension, wherein metaphysics, ontology, aesthetics, linguistics, cosmology and psychology, all blend in a continuum of psychic experience, while variations of conscious awareness could only be described, and not sharply differentiated.

All this would point, not only to the emergence of new cognitive methods, but also to correspondingly adequate means of expression. A transcultural approach could, moreover, provide vital links between today's originality and the spiritual traditions of the past, adding thus a sense of cultural continuity to our endeavours in understanding evolution.     

Literature and the Expressions of Being in Merleau-Ponty’s Unpublished Course Notes

In this article I examine Merleau-Ponty’s understanding of the relation between literature, being and perception. I focus especially on two of Merleau-Ponty’s courses at Collège de France: the first course, Le monde sensible et le monde de l’expression, and the unpublished course Sur le problème de la parole. In the former Merleau-Ponty presents a new understanding of perception, according to which being is expressed in perception through the style of movement of the perceived phenomenon. In the latter he advances a notion of literary writing as an expression of the being that is itself expressed to us in perception. Through a reading of Proust’s work, he discusses how the literary writer makes his experience expressive by means of a stylization of what is experienced. Hence, literature expresses perception through an enhancement of the expressiveness that it already contains. This capacity of literature will be the main focus of my investigation.     

Cognitive aesthetics of alchemical imagery

Jung's contribution to the understanding of the relevance of psychology to alchemy has become increasingly invalidated by the ahistorical nature of his approach, just as his tendency to ignore the importance of cognitive aesthetics for an improved comprehension of the functions of alchemical images has prevented Jungians from further extending Jung's insight of the importance of alchemy for psychology. This paper explores the history of the development of alchemical illustrations in Western Europe from the 14^th to the 16^th century, tracing the emergent processes over time. It is only when we take into consideration the historical dimension and the aesthetics of alchemical imagery that it becomes possible to demonstrate how the increasing use of certain aesthetic techniques such as the disjunction and recombination of separate metaphorical elements of previous illustrations, the use of compressive combinations and the use of framing devices worked to gradually increase the cognitive function and the symbolical power of the images. If alchemy is still relevant to psychotherapy it is exactly because it helps us to understand the importance of cognitive aesthetics in our approach to the images, metaphors and narratives of our patients.     

In the letter of mere reason: Rethinking the universal secular intellectual with Immanuel Kant,Jacques Derrida and Gayatri Chakravorty Spivak

This article reconsiders a question, ‘Is Critique Secular?’, which ostensibly polarised Saba Mahmood and Stathis Gourgouris in the 2008 exchange forum of Public Culture. After positing that Mahmood and Gourgouris are mutually invested in challenging and overcoming the intransigence of epistemic secularism, the article canvasses Gayatri Chakravorty Spivak's deconstruction of the Kantian ‘universal secular intellectual’. The article suggests that Spivak's reading of Kant's Religion Within the Limits of Reason Alone constitutes a vital exercise in democratic criticism that sets into relief an important convergence between Mahmood and Gourgouris as interlocutors. Delineating imbrications among Critique of Pure Reason, Critique of Judgment and Religion Within the Limits of Reason Alone, the article synthesises Jacques Derrida's work on Kantian aesthetics and Spivak's recalibration of the Kantian intellectual as a means to unsettle the recalcitrance of epistemic secularism in academic debate and public culture.     

SIGNALING STATIC: ARTISTIC,RELIGIOUS, AND SCIENTIFIC TRUTHS IN A RELATIONAL ONTOLOGY

Abstract. In this essay I point toward the difficulties inherent in ontological objectivity and seek to restore our truth claims to validity through a relational ontology and the dynamic of coimplication in signals and noise. Theological examination of art and science points toward similarities between art, religion, and science. All three have often focused upon a “metaphysics of presence,” the desire for absolute presence of the object (the signified, the divine, the natural object). If we accept a relational ontology, however, we must accept that the revelation of presence is always simultaneously a concealment. This helps explain technoscientific achievement without recourse to a philosophically flawed objectivity. Twentieth‐century information theory shows the impossibility of a “pure signal.” By accepting that signal and noise are permanently interconnected, we begin to see how noise makes signal possible and even how noise becomes signal (allowing the discovery of novel facts). Information theory thus underscores important similarities and leads toward new approaches in aesthetics, Christian theology, and scientific research. By comparing art, religion, and science, I argue that rejecting a metaphysics of presence without rejecting presence itself allows human beings to know the world. Although religion, science, and art often seek the absolute presence of their objects, they function better without.     

《周易》与接受美学

<周易>作为众经之首,对中国文化和中国人的思维定势产生过强烈的影响.在<周易>影响下形成的玄学论文艺观,则是基于表现宇宙原理的理论.这种宇宙原理在玄学论中一般都称之为"道"."道沿圣以垂文,圣因文而明道",由此形成宇宙、作者、作品三者关系;而文章必须通过读者大众的阅读,才会对社会起作用,这就强调了读者中心.后来,西方兴起的接受美学,也强调读者中心,正与中国的玄学论文艺观不谋而合.     

The authorship of Uri Zohar: the ethics and aesthetics of the Archimedean lever

This article discusses Zohar’s subversive reflexive aesthetics, termed the “Archimedean-lever ethics,” comprised of three stages: the world rendered from one perspective; the same world rendered from a different perspective, challenging or destroying the first; and awareness of the shift of perspectives. It argues that Zohar’s creative energy, imbued with male sexuality, derives from this collision, and examines its ethical aspect in relation to Zionist values during the 1950s and 1960s. Zionism and Israel should always consider more than one perspective, being able not only to build but also to destroy (convictions, territories) in order to bring change, with destruction thus becoming a particular form of creation. However, in Zohar’s films made during the 1970s, the male sexual energy becomes an endless sexual appetite, expressed mostly through coveting gazes, which is no more than a cover up for male impotency, tantamount to Israel’s endless appetite for land.     

The Creativity Paradox: An Introductory Essay

In this introductory article to the special issue, I explore the trope of paradox to think through the idea of creativity. Traditionally, metaphor has been the favored trope to conceptualize creativity: the combination of two existing elements into something different, something new. In this special issue, we focus on the trope of paradox as a trope defined by juxtaposition and an apparently irresolvable conflict to delineate creativity. Glossing the usefulness of paradox for artistic as well as scientific creativity, I show how the idea of Janusian thinking or being in two minds holds great potential to bridge creativity research in the humanities and social sciences. This issue starts building that bridge with multidisciplinary perspectives on creativity that, first, deconstruct apparent dichotomies in creativity research and, second, approach creativity as a situated, distributed concept.     

Wisdom and Knowledge: The Outline of Eastern and Western Aesthetic Spirits?

Wisdom and knowledge are the basic spirits of Eastern and Western aesthetics. The shortcoming of the aesthetics based on knowledge, i.e., the aesthetics of knowledge, lies in the fact that it clings to the opposing differences between Western- and Eastern-centered theories. These differences include essentialism and anti-essentialism; harmonious and non-harmonious relationships between person, self, nature and society; art or nature as the highest aesthetic realm; metaphysics or psychology as the aesthetic domain; dualism and Advaita; and so on. The aesthetics based on wisdom, namely aesthetics of wisdom, is valuable due to its adopting an impartial attitude toward Eastern and Western aesthetics, essentialism and anti-essentialism, philosophical horizon and psychological horizon, theory of harmony and theory of antagonism, beauty of art and beauty of nature, dualism and Advaita, up to aesthetics of knowledge and aesthetics of wisdom. Contrasted with this understanding of the aesthetics of knowledge, non-dualism and non-Advaita are the soul of the spirit of the aesthetics of wisdom.     

先秦儒家美学之"美"的边界

“Beauty” is a very important concept in Pre-Qin Confucian aesthetics. Pre-Qin Confucian aesthetics generally had two viewpoints when defining beauty: Negatively, by stressing that “beauty” in the aesthetic sense was not “good”; and positively, by stressing two factors: one, that beauty was related to “feeling” which was not an animal instinct, the other was that “beauty” was a special texture with a particular meaning. “Beauty” in Pre-Qin Confucian aesthetics may be defined as “texture (or form)” capable of communicating feeling or triggering a reaction of feeling. __________ Translated from Shanghai shifan daxue xuebao 上海师范大学学报 (Journal of Shanghai Normal University), 2007, (7): 80–85