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The following think piece explores what it means to exist in a culture of idols by questioning the universalistic practice of canonization. By rejecting homogenous Eurocentric thinking, this piece makes room for the voices of plurality and collective thinking with each other. To this end, it relies on feminist praxis to criticize the genius-based, self-contained understanding of creativity and success perpetuating within contemporary scientific research. Indeed, it presents a case for cultivating cultures of failure within academia and demonstrates with its own stylistic development how cultivating a stream of thoughts can speak to the fragmented and collective nature of the entangled process of thinking and writing.
Ao tratar de diferentes aspectos do conceito de mimese na estética de Theodor Adorno, o artigo busca evidenciar a permanência do que Adorno designou como mimese primitiva ou originária na sociedade contemporânea. A análise do conceito de idiossincrasia servirá para mostrar esta permanência e, ao mesmo tempo, o seu reforço pela indústria cultural. Como contraponto a essa faceta do conceito de mimese, trataremos da mimese nos âmbitos científico, filosófico e no que Adorno considera obra de arte autêntica.
Advancement in science and technology that has been achieved by human beings does not necessarily imply they are freed from environmental problems. Buddhism since the very be-ginning has been in harmony with nature; the Buddha was fond of nature; however, it is very little its sources speak about the interconnection between human and environment. The ques-tion of the significance of cultural ecology comes into prominent in these days as there has been increasing environmental problems happen. Borobudur Buddhist temple in Central Java contains some ideas or elements that can be used to cope with the problems mentioned. Inter-estingly, the whole body of the monument was inspired by the teachings of the Buddha and Buddhism in which the Causal Law having impetus in the theory dependent-origination (Pratyasamutpada) is reflected clearly in the reliefs of Mahakarmavibangga in Kamadhatu base level. For a better understanding of this law, the connection with cosmology in Maha-yana Buddhism is discussed in brief. It is found that there are various natural elements were depicted and crafted by the artists in a high standard of art as the manifestations of the Bud-dha’s teachings. Amongst the natural elements depicted here, tree, plant, or forest are domi-nant elements, which appear almost in all reliefs either in the main walls or balustrade. The relatedness amongst the elements is shown beautifully in complex relationship amongst them, and this has moral, aesthetical, spiritual, and ecological messages that need to be known for spiritual ascendance. When the interaction amongst them should be accomplished it is re-quired an ethical principle as how to maintain harmony with those natural elements, animals and human beings for a better world order and happy life.
Introduction
(2014)
The experience of multistable figures or so-called Kippbilder - the sudden and repeated 'kippen' of perception as the same object is seen under different aspects - is fascinating in its own right. However, what animated the year-long discussion leading to this volume was a critical exploration of the proposition that such figures may offer a helpful model for thinking through the intercultural and interdisciplinary effort of productively negotiating between conflicting positions.