Música y filosofía contemporánea : de John Cage a Peter Sloterdijk.

Resumen basado en el de la revista

Sloterdijk e o lugar do homem no humanismo pós-metafísico

This work starts from the principle that the word humanism has been currently used to advocate certain behaviors or ways of acting which had been constituted for more than 2500 years, mainly in what refers to the most basic human values, which are clearly validated without any questioning. Humanism has been seen continually as a stone of civility touch. Thus, in 1999, the philosopher Peter Sloterdijk presented a conference in Baviera entitled Rules for the Human Zoo, whose subtitle was clear that it dealt with an answer to Martin Heidegger s text Letter on Humanism, basically showing that civility is necessarily bound to human domestication. So, the present work is split in three chapters. The first one aims to set the cultural and metaphysical bases of humanism. The second one will adopt an approach about what we will call epistolary humanism and its corollaries. Besides, in the third chapter, we will compose theoretical statements to the Heideggerian criticism against humanism and the post humanist contemporary proposition, as well as about the anthropotechnics. We can state that these two elements are considered as anthropological fundamentals of humanism and post humanism, and by understanding their mentioned historical relationship from their biological and ontological assumptions. Therefore, this work, which has been presented here, when it tries to map humanism under the theoretical influence of Sloterdijk, it distinguishes itself precisely by realizing the coherence with which he aims at diagnosing the directions of the contemporary humanism

Transhuman education: Sloterdijk's reading of Heidegger's Letter on Humanism

Peter Sloterdijk presented a reading of Heidegger's Letter on Humanism at a conference held at Elmau in 1999. Reinterpreting the meaning of humanism in the light of Heidegger's Letter, Sloterdijk focused his presentation on the need to redefine education as a form of genetic ‘taming’ and proposed what seemed to be support for positive eugenics. Although Sloterdijk claimed that he only wanted to open a debate on the issue, he could not have been surprised at the level of opposition this suggestion aroused. In the weeks following, he blamed Habermas for raising this opposition and for refusing to engage with him openly. Although Luis Arenas has chronicled the aftermath of Sloterdijk's paper, it may be of interest to educators to examine how Heidegger's text is presented. What is this new humanism? If Heidegger's new humanism was based on a mystical attitude towards Being, so Sloterdijk's new humanism was to be based on the materialist principles of a biotechnological age. Unlike Heidegger who rejected technology as yet one further example of the forgetfulness of Being, Sloterdijk seems to embrace technology and the enhancement of the human body and mind as the next great step forward in educational theory. Could he possibly be right? Is education in these times a partner or an opponent of the technological enhancement of the human being? This article tries to identify Sloterdijk's disagreements with Heidegger on the question of the human.

Mesons: ontologia

Este trabalho se intitula Mesons e propõe descrever e fundamentar uma nova teoria: a mesologia. Trata-se de uma teoria geral dos meios [mesons] e das mediações, uma ontologia dos meios, poderíamos dizer, cujo intuito é fornecer parâmetros conceituais para a compreensão de fenômenos bastante heterogêneos, sejam eles de ordem cultural ou natural, física ou metafísica. Essa abrangência é possível porque a mesologia se apoia em princípios cosmológicos e ontológicos para se fundamentar. Nesse sentido, um dos princípios fundamentais em torno dos quais a teoria dos mesons se articula é o binômio finito-infinito, entendido a partir da ontologia e da cosmologia. Por isso, esta tese leva o subtítulo de Ontologia, pois pretende delinear as premissas metateóricas elementares dessa teoria. Portanto, este é um trabalho eminentemente metaempírico, cujos objetos material e formal coincidem em um mesmo objeto conceitual: a demarcação epistemológica do conceito de mesons, bem como a exploração de diversos fenômenos que possam ser descritos e agenciados pela mesologia. A partir deste núcleo primário que é a definição da ontologia dos mesons, uma série de outros conceitos se dissemina, centrais para a compreensão da mesologia como um todo: mesons, meios, ser, vida, sapiens, ontologia, cosmologia, infinito, finito, heterarquia, heterogênese, antropia, antropofanias, antropogemas, transumano, holografia, holograma, mereografia, mereograma, pluriontologias, transferência, animismo, imaginal, tempestade, entre outros. Obviamente não pude analisar e estabilizar todos esses conceitos neste trabalho. E se não o fiz é também porque imagino este trabalho dedicado a delinear o ser dos mesons, ou seja, a ontologia dos meios, como o primeiro volume de um projeto maior, em diversos volumes, intitulado Mesons, e que abordará outros conceitos e outras noções, tais como cosmo, vida, forma, morte, sexualidade, em suas determinações e especificidades propriamente mesológicas.

The conflict between realism and abstraction in the field of spanish art as an iteration of la "Querelle des Anciens et des Modernes"

Based on the analysis model favored by the study of the conditions in which the seventeenth century Querelle des Anciens et des Modernes took place, we examine the case of confrontation between realism and abstraction, which occurred in the context of Spanish art in the nineties of the twentieth century. Connections are established with other aesthetic conflicts which are considered part of a genealogy whose most explicit antecedent could be placed in the before mentioned complaint, such as the confrontation between realism and abstraction in the American art scene, which occurred in the fifties of the last century, and the more recent controversy on pluralism and the end of art.

Withdrawing from Atmosphere: An Ontology of Air partitioning and Affective Engineering

The main objective of this text is to warn against atmospherics. However comfortable it might appear, an atmosphere is politically suspicious because it numbs a body into an affective embrace of stability and permanence. It becomes doubly suspicious because a body desires to be part of the atmosphere. For this reason, I rethink both affect and atmosphere ontologically rather than phenomenologically. I argue that an atmosphere is engineered by subsuming individual affects to what I call, following Sloterdijk, an atmospheric glasshouse. I suggest that this happens in four steps: a distinction between inside and outside through partitioning; inclusion of the outside inside; illusion of synthesis; and dissimulation. In order to do this, I begin with air as the elemental paradox of ontological continuum and rupture. I carry on with the passage from air to atmosphere while retaining the discourse around continuum and rupture. Finally, I indicate a way of rupturing the atmospheric continuum through the ontological movement of withdrawal from the atmosphere. The ultimate goal of the article is to sketch a problematic of atmospherics that puts together without synthesising an elemental ontology of continuum and rupture.

Withdrawing from atmosphere: An ontology of air partitioning and affective engineering

The main objective of this text is to warn against atmospherics. However comfortable it might appear, an atmosphere is politically suspicious because it numbs a body into an affective embrace of stability and permanence. It becomes doubly suspicious because a body desires to be part of the atmosphere. For this reason, I rethink both affect and atmosphere ontologically rather than phenomenologically. I argue that an atmosphere is engineered by subsuming individual affects to what I call, following Sloterdijk, an atmospheric glasshouse. I suggest that this happens in four steps: a distinction between inside and outside through partitioning; inclusion of the outside inside; illusion of synthesis; and dissimulation. In order to do this, I begin with air as the elemental paradox of ontological continuum and rupture. I carry on with the passage from air to atmosphere while retaining the discourse around continuum and rupture. Finally, I indicate a way of rupturing the atmospheric continuum through the ontological movement of withdrawal from the atmosphere. The ultimate goal of the article is to sketch a problematic of atmospherics that puts together without synthesising an elemental ontology of continuum and rupture.

A vanguarda europeia: entre a "Globalienação" e a "Unidade Humana

A presente tese de doutoramento visa analisar o conceito de vanguarda artística, bem como investigar se é possível existir uma vanguarda artística no século XXI. Apresentada ao longo da história segundo diferentes perspectivas, a genética vanguardista deve ser sempre reestudada e redesenhada definindo-se a sua ligação ao modernismo e ao cosmopolitismo, assim como identificando os seus objectivos e as suas dinâmicas geo-sociais. Se no início do século XIX o saint-simoniano e matemático francês Olinde Rodrigues considerava urgente, mas também impossível, que uma vanguarda artística vingasse politicamente, então interessa saber o que mudou para que a frente artística possa avançar no campo da batalha. É essencialmente sobre a reinterpretação desse primeiro “manifesto” que esta investigação estabelece as suas fundações. É também de assinalar a utilidade que certos conceitos como a “cólera” e a “globalização” detêm, à qual os estudos do filósofo alemão Peter Sloterdijk servem como ponto de partida. A terminologia militar da vanguarda também não pode ser ignorada. O exército artístico deve ter um treino específico para atacar com toda a sua força, bem como saber identificar os seus diferentes alvos ao longo da história. Sublinhe-se que o campo de investigação é o europeu. A vanguarda europeia tem um perfil singular que se liga tanto à memória, quanto ao sentido utópico de unidade e à singularidade da sua crítica. A actualidade do conceito de vanguarda deve ser posta em causa no século XXI. Esta é uma Europa definida pela queda do muro de Berlim e amedrontada por ataques terroristas, definida pelo regresso de grupos extremistas no seio europeu e por uma Rússia que perde os seus pudores ofensivos. É um tempo em que as guerras se fazem com drones e a internet permite reorganizar o activismo, mas também vincar uma realidade de controlo. Neste panorama é difícil não ser cínico.