Doctrine and Tradition in Benjamin's early Thought : A relegated Chapter in the Study of his Reception of Kant

En el presente trabajo indagamos el significado de los conceptos de "doctrina" y "tradición" en las reflexiones de Benjamin hacia 1917, íntimamente vinculados con su recepción de Kant. Los escasos análisis de tal recepción relegan este aspecto. Intentamos mostrar que estos conceptos expresan un interés por la idea kantiana de unidad sistemática del conocimiento, y sostenemos que Benjamin reinterpreta tal unidad en términos mesiánicos: ya no como un supuesto necesario, sino como una exigencia de redención. Finalmente, exhibimos de qué modo estas nociones se hallan implícitas en el escrito "Sobre el programa de una filosofía futura"

Reverberations: The Philosophy, Aesthetics, and Politics of Noise

A publication emerging out of a successful international conference I co-organised on noise in 2010. The first of two volumes, this one focuses on noise as an aesthetic, political and cultural concept, and a range of noise practices beyond purely sonic ones, such as audiovisual noise and noise in communication theory. It argues that noise is fundamental to contemporary communication practices and facilitates a reversal of perspective in how these practices can be understood

On the integration of Argentinian activist art at exhibition venues

This article examines the institutional integration of activist art in the aftermath of the 2001 economic crisis in Argentina. Following this aim, we begin with a description of the most significant new groups of activist art in the City of Buenos Aires. Then, we elaborate the position these new groups take up in the field with respect to their dispute with the “light art” from the 90s, and in relation to the mutual accusations over the “trend” of political art. Finally, we analyse the reception of these groups of activist art in art exhibitions in the City of Buenos Aires and abroad, and we reflect upon the institutionalization of these specific and situated aesthetic and political practices.

The art of second wave positive psychology: Harnessing Zen aesthetics to explore the dialectics of flourishing

In recent years, a “second wave” of positive psychology has been emerging, characterised, above all, by an awareness and appreciation of the dialectical nature of flourishing. This paper offers a philosophical foundation for this second wave, based on Eastern philosophy, and, in particular, Zen aesthetics. Part one introduces Zen, including its key philosophical ideas and practices, as well as two antecedent traditions that helped to form it, namely, Buddhism and Taoism. Part two then elucidates three aesthetic principles that are integral to Zen: mono no aware (pathos of life), wabi-sabi (desolate beauty), and yūgen (profound grace). The paper discusses how these principles could be of value to positive psychology in fostering dialectical understanding and appreciation, thus highlighting future directions for the field.

How valuable is web 2.0 to music criticism? An investigation into the role of web 2.0 and social media in the reception of Benjamin Britten's operas

The internet is deeply integrated with many people's day to day lives, including that of musicians and musicologists. In this thesis, the impact of the internet on classical music criticism in the Web 2.0 age is examined. Using the examples of Britten's operas, Gloriana and Peter Grimes, an overview of their critical reception is examined, using printed reviews found in The Times since their premières, internet based reviews of two specific performances, and the reactions to these performances on Twitter. Theories of media behaviour including de Mul's view of the 'ludic self' are used in order to explain the content found in reviews in conjunction with citizen journalism, of which blogging is an extension. While there are some consistencies between the print reviews and those online, there are stylistic differences, and wider repercussions for the world of criticism in the wake of the democratisation of culture, as critics find their previously regarded authority obsolete to some. Music criticism is no longer the reserve of the musicologists

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.

The Reception Of South-Eastern Cultural Patterns: Late Neolithic And Nascent Bronze Age Flint Working In The Vistula Drainage Basin. The Case Of Trough-Like Retouch

This publication constitutes the fruits of National Science Centre research projects (grant no 2011/01/M/HS3/02142 – 6 articles) and the National Programme for the Development of the Humanities (grant no 0108/NPH3/H12/82/2014 – 3 articles). We would like to acknowledge and at the same time express our sincere gratitude for the generosity shown by the following at the Adam Mickiewicz University in making this publication possible: the Dean of the Department of History, Institute of Pre-history and the Eastern Institute.

Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”

Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

Doctrine and Tradition in Benjamin's early Thought : A relegated Chapter in the Study of his Reception of Kant

En el presente trabajo indagamos el significado de los conceptos de "doctrina" y "tradición" en las reflexiones de Benjamin hacia 1917, íntimamente vinculados con su recepción de Kant. Los escasos análisis de tal recepción relegan este aspecto. Intentamos mostrar que estos conceptos expresan un interés por la idea kantiana de unidad sistemática del conocimiento, y sostenemos que Benjamin reinterpreta tal unidad en términos mesiánicos: ya no como un supuesto necesario, sino como una exigencia de redención. Finalmente, exhibimos de qué modo estas nociones se hallan implícitas en el escrito "Sobre el programa de una filosofía futura"

Doctrine and Tradition in Benjamin's early Thought : A relegated Chapter in the Study of his Reception of Kant

En el presente trabajo indagamos el significado de los conceptos de "doctrina" y "tradición" en las reflexiones de Benjamin hacia 1917, íntimamente vinculados con su recepción de Kant. Los escasos análisis de tal recepción relegan este aspecto. Intentamos mostrar que estos conceptos expresan un interés por la idea kantiana de unidad sistemática del conocimiento, y sostenemos que Benjamin reinterpreta tal unidad en términos mesiánicos: ya no como un supuesto necesario, sino como una exigencia de redención. Finalmente, exhibimos de qué modo estas nociones se hallan implícitas en el escrito "Sobre el programa de una filosofía futura"

Analogy between the socio-cultural thematic of Macunaíma and the Tarsila do Amaral’s paintings: a possibility of broaden the senses of literary texts

This research seeks establishing relationships between the socio-cultural theme of Macunaíma and the some paintings by Tarsila do Amaral bringing reflections to literature teaching to suggest the seek to broaden the sense of literary texts. We will discuss the literature importance at school according to what is to predicted in the Diretrizes Curriculares de Língua Portuguesa. Research is based  on the notions of intertextuality by Bakhtin (2003),  on the postulates by Etienne Souriau (1983), on the criticism by Candido (2006) on the Reception Aesthetics, by Jauss (2002), Iser (1999) and on the writings by Bordini and Aguiar (1993).

CRITICAL RECEPTION OF HILDA HILST´S LITERATURA

This paper aims to show how, contrary to what Hilda Hilst said in many interviews, his writing always had a guaranteed space in the press and has been increasingly studied in academia. Complaints of writer she was unread, proceed only if we consider that, although many critics of repute have written about his work, none of them leaned over time on the work Hilst´s literary work, nor did a more extensive and thorough study about it. Something that happened with the works of Guimarães Rosa and Clarice Lispector, for example. The desire of Hilst  was to be popular, readable, hence its repeated outrage, but ten years after his death, although there is a whole movement around her public figure, what we think is that her texts never popularizing.

Applying integrated resource and environmental management to transmission right-of-way maintenance

The concept of a substantive integrator is introduced as a method for integrated resource and environmental management as a means to assimilate different resource values at the operational or field level. A substantive integrator is a strategic management tool for integrating multiple uses into coprorate management regimes that traditionally manage for single values. Wildlife habitat management is presented as a substantive integrator for managing vegetation on electric utility power line corridors. A case study from northern British Columbia provides an example of wildlife habitat management as a means to integrate other resource values such as aesthetics, access and subsistence along British Columbia Hydro and Power Authority's transmission rights-of-way.

A natural model for architecture : the nature of the evolutionary model 1995

John Frazer's architectural work is inspired by living and generative processes. Both evolutionary and revolutionary, it explores informatin ecologies and the dynamics of the spaces between objects. Fuelled by an interest in the cybernetic work of Gordon Pask and Norbert Wiener, and the possibilities of the computer and the "new science" it has facilitated, Frazer and his team of collaborators have conducted a series of experiments that utilize genetic algorithms, cellular automata, emergent behaviour, complexity and feedback loops to create a truly dynamic architecture. Frazer studied at the Architectural Association (AA) in London from 1963 to 1969, and later became unit master of Diploma Unit 11 there. He was subsequently Director of Computer-Aided Design at the University of Ulter - a post he held while writing An Evolutionary Architecture in 1995 - and a lecturer at the University of Cambridge. In 1983 he co-founded Autographics Software Ltd, which pioneered microprocessor graphics. Frazer was awarded a person chair at the University of Ulster in 1984. In Frazer's hands, architecture becomes machine-readable, formally open-ended and responsive. His work as computer consultant to Cedric Price's Generator Project of 1976 (see P84)led to the development of a series of tools and processes; these have resulted in projects such as the Calbuild Kit (1985) and the Universal Constructor (1990). These subsequent computer-orientated architectural machines are makers of architectural form beyond the full control of the architect-programmer. Frazer makes much reference to the multi-celled relationships found in nature, and their ongoing morphosis in response to continually changing contextual criteria. He defines the elements that describe his evolutionary architectural model thus: "A genetic code script, rules for the development of the code, mapping of the code to a virtual model, the nature of the environment for the development of the model and, most importantly, the criteria for selection. In setting out these parameters for designing evolutionary architectures, Frazer goes beyond the usual notions of architectural beauty and aesthetics. Nevertheless his work is not without an aesthetic: some pieces are a frenzy of mad wire, while others have a modularity that is reminiscent of biological form. Algorithms form the basis of Frazer's designs. These algorithms determine a variety of formal results dependent on the nature of the information they are given. His work, therefore, is always dynamic, always evolving and always different. Designing with algorithms is also critical to other architects featured in this book, such as Marcos Novak (see p150). Frazer has made an unparalleled contribution to defining architectural possibilities for the twenty-first century, and remains an inspiration to architects seeking to create responsive environments. Architects were initially slow to pick up on the opportunities that the computer provides. These opportunities are both representational and spatial: computers can help architects draw buildings and, more importantly, they can help architects create varied spaces, both virtual and actual. Frazer's work was groundbreaking in this respect, and well before its time.