The Suspended Aesthetic: Slavoj Žižek on Eastern European Film

Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and potentiality. Defining iek's aesthetics in terms of suspension helps to explain his partiality for Kies´lowski and Tarkovskij and bears comparison to the Russian tradition of philosophical aesthetics, in particular Aleksej Losev and Alexander Bakshy.     

The Concept of Yuko-Datotsu in Kendo: Interpreted from the Aesthetics of Zanshin

As kendo continues to gain in international popularity, there are hopes for its adoption in the Olympic Games as an international competitive event, even while moves to further this aim have not necessarily occurred in Japan or elsewhere. One reason for the efforts to achieve a form of globalization of kendo different from Judo is the attempt to adhere to and preserve the unique concepts kendo, the sport embodies by remaining true to the forms of traditional Japanese culture. This is epitomized by the importance given to zanshin (the combination of posture and fighting spirit after striking), one of the key concepts that constitute yuko-datotsu in kendo. Our purpose in this study is to discuss the intersubjective nature of the decisions regarding the conditions for point-scoring in competitive sports. In particular, we will focus on the aesthetics required for zanshin in kendo, focusing on the theory behind yuko-datotsu (point score), which will also considerably influence its international dissemination. Kendo is characterized from the perspective of western rationalism as an appreciation of form and rules of behavior referred to as formalism and, in this respect, it has unique characteristics differing from those of modern sports that are disseminated internationally. In martial arts, besides refinement and proficiency in the rules of behavior by rigidly adhering to form and rules of behavior and repetition, the aim is to transcend said form and the rules of behavior and embody the spiritual nature dwelling in the background. Kendo should remain traditional path and keep zanshin in the value of point (yuko-datotsu) for its virtue. Kendo has not yet developed into an international competitive sport, but it is in the process of traversing that Geido path as a Do for the purpose of character building through it. Throughout life, one should try to devote oneself to kendo with thought for the value of transcending form and the rules of behaviour, and embodying the spiritual nature of the sport that inheres in its background. That is why one may perceive an evident hesitation or indeed negativity regarding the possible internationalization or development as an Olympic event.     

MATRIX THINKING: AN ADAPTATION AT THE FOUNDATION OF HUMAN SCIENCE,RELIGION, AND ART

Intrigued by Robinson and Southgate's 2010 work on “entering a semiotic matrix,” we expand their model to include the juxtaposition of all signs, symbols, and mental categories, and to explore the underpinnings of creativity in science, religion, and art. We rely on an interdisciplinary review of human sentience in archaeology, evolutionary biology, the cognitive science of religion, and literature, and speculate on the development of sentience in response to strong selection pressure on the hominin evolutionary line, leaving us the “lone survivors” of complex, multiple lines of physical and cultural evolution. What we call Matrix Thinking—the creative driver of human sentience—has important cognitive and intellectual features, but also equally important characteristics traced to our intense sociability and use of emotionality in vetting rational models. Scientist, theologian, and artist create new cultural knowledge within a social context even if alone. They are rewarded by emotional validation from group members, and guided by the ever present question, “Does it feel right?”     

Scriptural Reasoning as a “Classic”: The Aesthetics of Interreligious Politics

Seeking to find a new way of meeting between Abrahamic traditions, Scriptural Reasoning has established a unique dynamic. This unique dynamic centres on meetings that are based on friendship rather than consensus, wisdom rather than propositional knowledge or binary thinking. Such virtues are not without problems. This article considers one problem: how the results of Scriptural Reasoning, and the insights gleaned from the meetings, can be passed on to the Abrahamic communities and the wider public. Addressing this problematic, the article focuses on the aesthetics of Scriptural Reasoning and its performance. Whereas one method of extending its influence is to widen the practice into the civic sphere and draw more people into the meetings, this article proposes another approach that suggests that the meetings of scholars or “representatives” around their texts constitute a “classic”, which, through vicarious performance can affect the wider public. Further than this, the article outlines a kind of aesthetic politics of religions. Building upon the idea of aesthetic representation proposed in the political sphere by Frank Ankersmit, it is argued that interfaith movements such as Scriptural Reasoning might be presented as a form of political representation.     

Varieties of Reflection in Kant's Logic

For Kant, ‘reflection’ (Überlegung, Reflexion) is a technical term with a range of senses. I focus here on the senses of reflection that come to light in Kant's account of logic, and then bring the results to bear on the distinction between ‘logical’ and ‘transcendental’ reflection that surfaces in the Amphiboly chapter of the Critique of Pure Reason. Although recent commentary has followed similar cues, I suggest that it labours under a blind spot, as it neglects Kant's distinction between ‘pure’ and ‘applied’ general logic. The foundational text of existing interpretations is a passage in Logik Jäsche that appears to attribute to Kant the view that reflection is a mental operation involved in the generation of concepts from non-conceptual materials. I argue against the received view by attending to Kant's division between ‘pure’ and ‘applied’ general logic, identifying senses of reflection proper to each, and showing that none accords well with the received view. Finally, to take account of Kant's notion of transcendental reflection I show that we need to be attentive to the concerns of applied logic and how they inform the domain-relative transcendental logic that Kant presents in the first Critique.     

Tasting the divine: the aesthetics of religious emotion in Indian Christianity

The category of rasa (emotional ‘tastes’) in Indian Christian theology and art offers a useful theoretical lens for the academic study of religious emotion. In this article, two Bharata Nā?yam dance ministries provide a case study in the practical applicability of a rasa theology that is emerging within contemporary Indian Christianity. The Christian choreographers have significantly altered the emotions of love and peace in comparison with classical rasa theory and its traditional use in Hindu devotion. Indian Christian artists and theologians have also begun to explore and invent additional aesthetic emotions, giving unique shape to their ‘emotional community.’ Important challenges attend the dance ministries as they are currently configured, yet rasa is a capacious analytical category that can shed new light on Indian Christianity and the study of emotion in religion.     

Aesthetics and the Problem of Evil

Much of Western speculative metaphysics has subscribed to what has been called “explanatory rationalism,” which holds that there is a reason for everything that is and for the way everything is. Theodicies, or metaphysical attempts to solve the problem of evil, have relied on a special application of this principle of explanatory rationalism, namely, the principle of plenitude, which holds that the evil in the world is a necessary ingredient in the world's overall perfection or degree of reality. This essay argues that the principle of plenitude is aesthetically motivated, and that only in art and perhaps in revealed religion can the demands of explanatory rationalism be satisfied.     

Towards a unified model of aesthetic pleasure in design

In this study we test the Unified Model of Aesthetics (Hekkert, 2014), which posits that the aesthetic sense has evolved to identify and value prospects for safety and accomplishment. The principles of unity-in-variety, most-advanced-yet-acceptable and autonomous-yet-connected are considered manifestations of these conflicting urges at separate levels of stimulus processing. We empirically integrate these principles to gauge their unique contribution to the aesthetic experience, using two distinct surveys (study 1–300 respondents and 20 stimuli, study 2–60 respondents and 24 stimuli). Both surveys confirm the three principles constituting the Unified Model of Aesthetics. The principles are found to operate independently and jointly, although unity-in-variety has the strongest impact on aesthetic pleasure.     

孙思邈中医美学思想初探

孙思邈的<千金方>中蕴涵着深刻而丰富的中医美学思想,他继承和发展了和谐统一的整体观,十分重视医务人员的美德修养,并将中医美容的理论与实践提高到一个新的水平,注重环境美对人体美的影响.他的许多观点至今仍具有重要的现实意义.