In this essay am focusing on “defining”, in a non-traditional way, the idea of artistic research, starting from a “hunting game” metaphor which lays at the Indo-European etymological foundation of ...the words we use today to designate the process of research in various modern languages. But this way of understanding the process of artistic research leaves open the question about the “object” of artistic research. What is that which artists in general and DJs, in particular, “hunt” for? To answer this question, I will analize the multi-layered structure of research in DJing, thought as a form of art born at the intersection of visual, musical and performative arts with technology. This analysis leads me to the idea of “vibe”, “vibration” or “affective resonance”, which was briefly mentioned in the history of philosophy by thinkers like Immanuel Kant, Arthur Schopenhauer and Maurice Merleau-Ponty.
...this bringing to stability and concept of our ineffable intuitions by means of "syllogism" or "deduction" is the main character of science (éraox^pn) in the Ancient Greek sense of the word ...(Nicomachus, 1866, I, 1; Aristotle, 1964, 71b; Beekes and Van Beek 2010, 445). ...this is the main argument by which Plato denies writing's role as an aid for knowledge and a medicine ^(XQgaxov) for forgetfulness (Plate 1901, 275a-277b) - writing only helps the ones that have the proper non-judicative experiences or the proper insights to "remember", but it doesn't "teach" anything stricto sensu. First of all, the essential trait of numbers is that they can express the quantity and size of the "magnitude" and "multitude" of things (Nicomachus 1866, I, 3). ...this "relative" aspect of numbers is manifested in nature in general and in human's artistic products.
This essay follows the poetic evolution of the poet Zeno Ghitulescu, starting from the anthology A doua vedere ( The second view). The argumentative layout is to emphasize the reconciliation of all ...the previous poetic stages in a coherent perspective.
In this study I analyse Adorno’s critique to jazz music form ameontological perspective. To understand why the German philosopher found jazz tobe a form of pseudo-artistic expression, a simple ...commodity produced by a musicindustry that has nothing to do with proper art, one must dig deep into Adorno’s“Aesthetic Theory” and “Negative Dialectics” to find out how the German philosopherviews art as a whole and what presuppositions does his conception about jazz music, inparticular, and pop culture, in general, imply. My main thesis is that Adorno did notresonate with jazz music because his philosophy implies that art is a form of negativedialectics that has to be understood solely through thinking (be it “rational thinking” or“affective thinking”). Jazz music, on the contrary, is a dance music or a “somaticmusic”, which can be understood, not through contemplation or any „pure” act ofconsciousness, but only by dancing, viewed as a form of „somatic” or „bodily”knowledge. So, Adorno’s critique to jazz refers to another meontological conceptualarcheology than classical music and other traditional expressions of art, this being thereason why he conceives jazz as a pseudo-artistic form of expression.
In this essay I studythe problem of the origin of evil and its emergence in the human soul in Plato’sphilosophy from a meontological point of view. As I argue, Plato has an epistemologicalview on ...evil and links it with the malfunction of a faculty of the soul, namely the“noetic intuition” (νοῦς). For a better grasp of this problem, I analyze the relationbetween nothingness and being, as it is present in Parmenides’ poem and introduce theconcept of “meontological difference”, i.e. the difference between nothingness and it’sontic and ontological hypostases. This concept can shed light on the reasons why, forPlato, the evil is linked to the absence of noetic intuition in two different ways – namelyignorance and madness – both being hypostases of nothingness.
In this essay I tackle theproblem of perception in the context of the plotinian philosophy, with an emphasis onthe “psychological” mechanisms involved in the perception of Oneness, Goodness ...andBeauty. As I argue, these are “meontological” ideas that are perceived by the humansoul through a peculiar power, namely an “ineffable consent” of the unity with the firstprinciple. Subsequently, these impressions left by the idea of Beauty in our soul enter aspecial hermeneutical process through which they form the multitude of ideaspopulating the “intellectual world”. Following the steps of the platonic analysis of Erosand its epistemological role, Plotin rethinks the foundations of the Platonianepistemology and ontology, giving it a meontological turn which can be used to rebuildmodern-day aesthetics as a rigorous philosophical science.
The paper attempts to focus on a deep modification in Cioran’s thinking that is simultaneous
with his decision of writing only in French. In this moment of linguistic conversion a genuine “identity
...rupture”, also marked by a slight change of his name: from Emil Cioran to E.M. Cioran. In order to
illustrate correctly this moment the author analyzes thematically the first two books published by
Cioran in France: Tratat de descompunere and Silogismele amărăciunii
As subject of a Hermeneutical approach focused on mystery, the aphorism is, in L. Blaga's case, an endless apology of itself, a tensionate positioning of the spirit in the virtual thought or in the ...purity of problems, closer to silence and interrogation rather than explicitely articulated philosophical discourse. Blaga believes that, by its very essence, « the aphorism hesitates between statement and allusion«. The object – the theme of immediate reflection – is less important, being cut from the sphere of culture, poetry, philosophy, Ethics, Metaphisics, etc.
The paper draws some directing lines on the theory of elites as an interpretation paradigm for Romanian literary groups and hierarchies, from Junimea to the present. In the first chapter, the author ...pleads for the reconsideration of the concept of „elites" that was compromised by excesive ideologies during the communism. The following sequence attempts to define the elites from a sociologic point of view. The concept and all its implications should be viewed as an operational concept with a pregnant potential in the investigation of the cultural-literary field.
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