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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper advocates a transcultural dimension for everyday aesthetics from the grounds of pragmatist aesthetics, with particular attention to East-Asia. The deweyan notion of rhythm will help build a bridge with classical Chinese aesthetics; the arts of the brush will help illustrate how the everyday and ordinary are central themes. The cyclic dimension of temporality will be a key element to uphold an aesthetic view on our ordinary existence. [ABSTRACT FROM AUTHOR]

Public order is a central and complex notion. This essay tries to provide the basic elements for a general theoretical critique of such a category, that is deeply employed in political and legal thought. In such a perspective, the analysis is divided into five different parts: the ontology, the physics, the politics, the ethics, and the esthetics of public order. The working mechanisms and the presuppositions of each part are carefully scrutinised. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Los actuales modelos teóricos y educativos que conciernen a los Estudios Visuales, suscriben una Cultura Visual planteada desde la transversalidad; las imágenes transitan diferentes contextos, y cumplen distintas funciones entre las cuales se debaten los regímenes estético y epistemológico. Un ejemplo situado en este marco es la micrografía digital: un corpus visual identificado con imágenes técnicas en su origen productivo, altamente mediadas por artefactos, y leídas como dispositivos de conocimiento. En este sentido, la propuesta se alinea con el denominado sistema ACT (Arte, Ciencia, Tecnología) para hacer converger los distintos canales sensibles y epistemológicos; y describir un proceso, de metáfora visual, por el que somos capaces de traducir modelos abstractos en códigos gráficos que paradójicamente generan imágenes emancipadas. Desde el signo cifrado hasta la autonomía visual, la micrografía replantea oportunamente fronteras y categorías en el terreno académico; así como abre un nuevo camino en la práctica artística visual.

El fanzine es una producción artística, independiente y transgresora que replantea desde su estética la función social y crítica del arte como medio de liberación y de expresión. Este artículo discute las implicaciones del fanzine como una estrategia divulgativa, a partir de la pregunta: ¿cual ha sido el rol del fanzine como propuesta de transformación social desde el arte? Para dar respuesta a este interrogante, se examinan fuentes documentales editadas entre los años de 1985 y 2000, las cuales abordan problemáticas como la violencia, el conflicto armado y la relación de las personas con las políticas gubernamentales en Colombia. Se concluye que el fanzine es una producción artística y cultural cuya independencia y naturaleza la convierte en una estrategia de expresión crítica y se constituye en respuesta histórica a coyunturas sociales y culturales transgresoras de la sociedad.

O propósito deste artigo é o de apresentar um procedimento para pensar com a música a partir da filosofia da diferença de Gilles Deleuze e Félix Guattari. Nessa perspectiva, deve-se assumir uma abordagem imanente, ou seja, não cabe à filosofia pensar sobre a arte, mas pensar com a arte. O conceito de bloco de sensações é usado sistematicamente por Deleuze & Guattari para pensar com a arte. Propomos que esse conceito poderia funcionar a partir da conexão entre cinco conceitos: agenciamento, figura estética, afecto/percepto, fábula e monumento. Utilizaremos esse procedimento para pensar com a música de Hermeto Pascoal, de forma específica, em sua composição “Música da Lagoa”.

RESUMO Este estudo descreve e analisa a atividade criadora da criança pré-escolar no (re)conto de histórias. Para isso, foi realizada uma pesquisa qualitativa com o estudo de caso de uma criança de 5 anos, denominada Carol. A construção dos dados ocorreu por meio de uma oficina de conto e (re)conto de história, realizada em um encontro virtual, que foi submetido à análise microgenética. Concluímos que, em um contexto no qual as crianças conheçam, apreciem esteticamente e se apropriem de histórias e narrativas, as estratégias de reprodução e criação se entrelaçam em um processo de produção autoral.

El presente artículo problematiza el sentido de una “estética” en la obra de Félix Guattari. A diferencia de la bibliografía existente que se centra en la obra de Deleuze, en el trabajo conjunto de Deleuze y Guattari y en la tardía noción guattariana de paradigma estético, aquí proponemos alternativamente ocuparnos del período temprano del militante francés. Dado que las referencias al arte atraviesan la totalidad de sus escritos, se trata aquí de un doble movimiento: acotar las múltiples indicaciones sobre el arte (y la estética), tanto como vincular estas con el resto del universo discursivo guattariano. Nuestra pregunta de investigación es, por tanto, la siguiente: ¿qué conceptualización del arte se vislumbra para él entre 1955 y 1980? Para esto dividimos el texto en tres apartados: una introducción problematizadora, un cuerpo donde visitamos cronológicamente los textos para obtener los sentidos de una posible “estética” y un cierre a modo de conclusión.

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of dentalTarget is the property of dentalTarget and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work aims to reflect on the ethical-political connection between Schiller's project of aesthetic education and the human condition of helplessness, seen as a central element in the constitution of subjectivity. The objective is to relate his conception of sensibility to a pedagogy oriented toward freedom, highlighting the recognition of nostalgic strangeness as the foundation for the formation of the self in communion. The first part addresses the inclusion of the other in a relational dimension, which defines the political arrangement in its articulation with ethics, considering it as a condition for access to sensibility and as part of a notion of freedom that involves the subject's self-development. The second part explores sensitive coexistence as a foundation for thinking about the formative character of aesthetics, understanding sensibility as a libertarian educational demand, sustained by helplessness as a concrete possibility of alterity, realized through the recognition of differences. The goal is to open space for a formative process that values coexistence and evolves in the pursuit of a way of life in communion. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, I first aim to pinpoint the factors that have historically marginalized art within anthropological thought. I propose that this marginalization stems from two main influences: the aesthetic conception of art and the metaphysical underpinnings of the social sciences, which suggest that art must be understood through theoretical frameworks. Drawing on phenomenology and following Heidegger's seminal essay The Origin of the Work of Art, I assert that art's role in establishing and navigating the metaphysical coordinates of a community, guiding its historical course, should be central to anthropological inquiry. I argue thus for an anthropological approach to art that prioritizes its ontological potentiality, thereby enabling us to appreciate the generative aspects of what we call society and culture. This approach invites a dialogical engagement with the world's great artworks, fostering a relationship marked by interpretive reciprocity among the works, their creators, and interpreters. [ABSTRACT FROM AUTHOR]

This essay proposes to reconsider Martín Luis Guzmán’s El águila y la serpiente (1928) through the lens of perception, sensory studies, and affect. To do so, I examine the ways in which Guzmán reproduces and problematizes the aesthetic-political ideology of the Ateneo de la Juventud and its ocularcentric metaphors. By implicitly questioning the epistemological limits established by hegemonic culture, the Mexican Revolution inaugurates a sensorium that interrogates established perceptions and sensibilities. As a text in which Guzmán inscribes his immersion in the Revolution’s sensorium, El águila y la serpiente relies on the body and affects to produce knowledge about the profound social changes and ideological dilemmas that the conflict brings forth. Following an approach that emphasizes the perceptive order and acoustemology that emerges in the novel’s nocturnal landscapes, I explore those instances in which Guzmán questions the enlightened beliefs of his generation by appealing to an alternative sensorium to confront the uncontainable strength of the revolt. [ABSTRACT FROM AUTHOR]

We aim to present Karl Philipp Moritz's thoughts on mythology as expressed in his Doctrine of Gods [Götterlehre] of 1791. Despite being relatively unknown, the author has been acknowledged as an important figure in the aesthetic thought of the period by authors such as Goethe, Schiller, and Schelling. We would like to analyze Moritz's novel perspective on approaching mythological creations, understood as a language of fantasy, distinct from the usual allegorical and historical interpretations. This approach, emphasizing the autonomous nature of mythology, is grounded, as we argue, in the aesthetic thought he developed in earlier years. Here, the assertion of a concept of a perfect and self-contained work of art, and the notion of an artistic creation whose organic formative force precedes subjectivity, constitute complementary poles of a radical thought on the autonomy of art, which, not coincidentally, seems to find its fullest expression precisely in Moritz's conception of mythology. Lastly, this intricate relationship between aesthetics and mythology reveals a new way of thinking, or, if we prefer, a new logic, critical of the determinations of traditional metaphysics and much closer to a symbolic thought. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales del Seminario de Historia de la Filosofía is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artigo discute a característica dos olhos vazados nas carrancas de Ana das Carrancas, artista popular brasileira, traçando aproximações com a obra de Amedeo Modigliani, pintor e escultor italiano. A pesquisa parte da análise das formas expressivas dos artistas, focando no simbolismo dos olhos vazados, que transcendem a estética e expressam profundos significados emocionais e culturais. Enquanto Ana das Carrancas utilizava essa característica como uma homenagem ao seu marido com deficiência visual, conferindo melancolia e introspecção às suas esculturas, Modigliani explorava o vazio dos olhos em suas pinturas para criar uma atmosfera de mistério e convidar o espectador a uma reflexão introspectiva. A metodologia utilizada é qualitativa, com revisão bibliográfica, fundamentada em pesquisadores como Aquino e Epiphanio (2022), Freitas e Sousa (2017; 2019) e Machado (2008). Embora os contextos dos artistas sejam distintos, ambos empregam o vazio dos olhos como uma forma de expressão artística, revelando a complexidade da alma humana. O artigo também reforça a relevância de Ana das Carrancas para a arte popular brasileira e seu legado cultural.

El objetivo de este estudio es investigar el pensamiento estético de Descartes en el Compendium Musicae de 1618. El estudio intenta mostrar como ese pensamiento estético se asienta en un fundamento tradicional clásico, pero que a su vez fue permeable a la praxis de la composición musical de su tiempo, apuntando de este modo hacia una estética moderna de la subjetividad y el sentimiento. El estudio aporta una lectura y comentario del texto poniendo de relieve algunas de sus características más relevantes.

Jogo de cena acumula comentadores desde o lançamento em 2007. Dentre os trabalhos que mergulharam em sua materialidade, é recorrente a discussão sobre o diálogo do filme com a linguagem cinematográfica e com a do teatro. Menos frequente é a preocupação com o que há de literário nele e em que medida sua literariedade, conceito originado no formalismo russo, contribui para discussões sobre cinema e literatura a partir de uma perspectiva que compreende o social e o histórico como componentes da forma artística. Assim, é feita uma revisão de aproximações mais tradicionais entre cinema e literatura, também são revisitadas algumas das relações entre essas linguagens artísticas na produção de Coutinho e, mais especificamente, em Jogo de cena. Dentre as características destacadas por estudiosos estão: a relação com o espectador/leitor, a aproximação com o ensaio, a proeminência da palavra, o tom poético de depoimentos, a motivação incidental de nomes e o enredamento com o literário pela citação a obras literárias. Em seguida, a noção de literariedade é retomada especialmente no que concerne às características dos gêneros narrativo, dramático e épico. A reinterpretação dessas características sob um ponto de vista sócio-histórico se fundamenta na análise centrada na primeira sequência do filme, exemplificando o mote do longa-metragem que gira em torno de três eixos: entre a forma mercadoria e a artística; entre a ficção e a não-ficção e entre a transparência e a opacidade. Espera-se, assim, contribuir para alargar o alcance do literário e da leitura tanto de obras cinematográficas, quanto teatrais e literárias.

Para Deleuze y Guattari, el arte es una bomba, y el artista es un revolucionario que crea dispositivos incendiarios que explotan más allá de nuestras expectativas, nuestras regulaciones y nuestras normas representativas. Pero, ¿qué es esta explosión del arte? Es la fuerza bruta de la sensación, una sensación que va más allá de los límites de nuestra capacidad para representarla, algo que siempre es nuevo e indeterminado por nuestras condiciones físicas, conscientes o históricas. Esta sensación abrumadora surge de la fascinación de Deleuze con lo sublime de Kant, que en una forma significativamente alterada aparece en Diferencia y Repetición como la clave de la estética propia de Deleuze, la cual se fundamenta en la discordia de las facultades. La lectura revisionista de Deleuze sobre lo sublime abre el sistema de Kant a nuevas posibilidades, algunas de las cuales ni siquiera el propio Kant conocía. Lo sublime sigue siendo el principio de la estética de Deleuze en su obra posterior, en particular en los libros sobre Cine y en Lógica de la sensación, Francis Bacon.

La técnica moderna es un producto de la subjetividad moderna y, muy en concreto, de una noción de metafísica fundada en la apoteosis de la relación sujeto-objeto. Sucede que esta noción de técnica se ha desbocado y, sin arietes de sujeción, proclama su independencia. La técnica, emancipada y erigida en soberana absoluta, cerca la realidad. Al hacerlo, la voluntad queda desprovista de cualquier remedio extra-técnico que pueda poner a salvo la realidad, vorazmente violentada, expuesta al peligro de quedar reducida a mera utilidad reemplazable, existencia o recurso. El destemplado mundo en que vivimos ya no se deja ver en la verdad de su ser, sino en la mera utilidad de un servicio que ha de prestar. En ese curso, alcanza al hombre mismo, que con sumo sigilo ha quedado reducido a material humano.

Este artículo se propone analizar la ciudad como espacio de las prácticas estéticas vinculadas a la circulación, el movimiento y la experiencia nómade y recupera lo que aportaron corrientes artísticas como el futurismo, el dadaísmo, el surrealismo y el situacionismo, entre otras. El objetivo es abordar la forma en que distintos artistas experimentaron en torno al espacio y el movimiento.

Este artigo tem por finalidade apresentar uma contribuição original à filosofia contemporânea acerca dos limites da sensibilidade e inteligibilidade a partir de uma análise do pensamento de Aldous Huxley expresso em As Portas da Percepção. Para alcançar o objetivo geral, evidenciaremos como a natureza estética e metafísica da experiência psicodélica pode possibilitar um desvelamento de dimensões fenomenológicas que extrapolam o escopo das lógicas racionalistas e empiristas ocidentais. Além disso, elucidaremos que de um modo muito diferente das drogas produzidas pela indústria farmacêutica, desprovidas de qualquer significado simbólico e ritual, as plantas sagradas utilizadas em culturas multimilenares são como chaves que abrem as portas da percepção, sacramentos que possibilitam tanto uma mais profunda contemplação do realmente real quanto uma mais elevada conexão entre o humano e o divino. Em linhas gerais, através de uma metodologia analítico-descritiva que interliga revisão bibliográfica, leitura aproximada, abordagens críticas e escrita criativa sobre os temas anunciados, demonstraremos como resultado da subsequente investigação em que medida a psicodelia pode ser compreendida não apenas como um horizonte interpretativo das reflexões filosóficas, mas também como uma abertura da consciência para novas maneiras de ser que transpõem os padrões impostos pelas ontologias hegemônica

Kant (1724-1804) introduziu o termo estética na Crítica da Razão Pura, referindo-se às formas puras da intuição sensível a priori: espaço e tempo. Essas formas, parte da dimensão transcendental, condicionam a recepção das intuições sensíveis, organizadas internamente pelo tempo e externamente pelo espaço. Para Kant, o tempo subordina todos os objetos como fenômenos da sensibilidade. Ele concebeu o termo “estética transcendental” para descrever a estrutura pré-existente que permite a recepção das intuições sensíveis, diferenciando-se da crítica do gosto. Kant afirma que o conhecimento exige sensibilidade (recepção de representações) e compreensão (formação de conceitos aplicados a essas intuições). Contudo, apesar da centralidade da noção de representação, ele não forneceu uma definição completa, utilizando-a em partes da Lógica Transcendental e da Estética Transcendental. Este estudo analisa as condições de sua formulação e difusão nas críticas kantianas. No juízo estético, Kant explora por que ele não gera conhecimento, impossibilitando sua universalização objetiva. A afirmação de algo como belo busca sua universalidade, mas a discordância alheia pode gerar frustração, destacando a subjetividade do gosto estético. A segunda parte aborda a Analítica do Belo e a Analítica do Sublime, evidenciando rupturas e inovações trazidas pela Crítica da Faculdade do Juízo. Analisa-se o belo em relação ao prazer e à dor, e o papel dos juízos determinante e reflexivo na estética do belo. A estética do sublime, abrangendo suas formas matemática e dinâmica, é explorada em suas conexões com natureza, moral e o informe.

Se analiza cómo los sistemas de valoración estética en la ocupación de tatuador en México contribuyen a formar sistemas de inequidad social. Con base en la categoría de esquemas de percepción, apreciación y acción de Bourdieu, se explora cómo las prácticas de valoración estética son producto de la estructura ocupacional y, a su vez, que su reproducción contribuye a la legitimación de dicha estructura. Mediante entrevistas y observación en línea, se examina la formación de estos esquemas de percepción y su efecto en la movilidad y distribución de posiciones en el campo laboral. Se revela cómo la apreciación estética, más allá de una valoración individual, funge como sistema de diferenciación que, en última instancia, se cristaliza en sistemas de estratificación.

La integración estética de sistemas solares en multifamiliares es un desafío todavía inédito en países latinoamericanos. Sesenta y cinco proyectos desarrollados por estudiantes de arquitectura en Lima (Perú) fueron considerados para establecer criterios de composición mediante clasificación tipológica a nivel de disposición de los sistemas fotovoltaicos, composición volumétrica, relación con las fachadas y los espacios inferiores. Los resultados demuestran múltiples posibilidades. Sin embargo, existen limitaciones para entender esta integración cuando se trata de la inclinación de los techos, así como la coherencia y la disposición geométrica en las configuraciones irregulares obtenidas. Tratándose de multifamiliares y debiendo lidiar con aspectos técnicos, se requiere mayor énfasis en la comprensión de la organización interior y sus implicancias con los sistemas solares. Una investigación previa relacionada a la cuantificación de la incidencia solar ha sido ya publicada, sin embargo, investigaciones para mayores evaluaciones estéticas en multifamiliares de media densidad podrían realizarse a futuro.

En Latinoamérica existe una larga historia de prácticas artísticas, cuyo propósito es participar de la esfera de lo público para intervenir en asuntos que nos competen como comunidad.Sin embargo, buena parte de los marcos de análisis desde los que estas se analizan parecen reproducir el cisma entre práctica artística y acción política, al asumir lo “político” como una condición accidental de lo “artístico”, o lo “artístico” como un epifenómeno subsidiario de lo “político”. El propósito de este artículo es identificar algunas de las maneras como se haanalizado la relación entre “arte” y “acción política”, relación que, aunque siempre inestable y controversial, es recurrentemente visitada. En este caso, más que un intento de definición es un recorrido por algunos de los tópicos sobre los que se puede proyectar una analítica que dé cuenta de sus recorridos y herencias

During the Garden Lupine’s two centuries of presence in Sweden, its apprehension has been marked by cultural reconfigurations – from an appreciated garden plant, through being a token for Swedish midsummer to being deemed an invasive alien species and ecological threat. With the purpose of deepening the understanding of how environmental management works as a nexus of nature and culture, this article analyzes ‘The Great Lupine Combat Day’, to show how the lifecycle of plants and culturally imbued actions and preferences interact. By employing ethnographic methods and qualitative source material to enable a cultural analysis of the traditionalization of eradicating invasive species, the article shows how this annual event ties together an established annual calendar, the life cycle and visuality of plants, biodiversity crises, an idealized aesthetics feature of Swedish nature, and eradication practices. In essence, the management of the Garden Lupine serves as a reminder of how nature is always culture. [ABSTRACT FROM AUTHOR]

In this paper the characterization of the work of art as a map of intensity, as proposed by Gilles Deleuze in his essay What the children say (gathered in Critique et clinique), will be analyzed. Art’s cartographic aspect is linked to the concept of deterritorialization and the Body without Organs that the philosopher, along with Félix Guattarí, develops in Thousand Plateaus. Thus, the art-cartography represents the becoming-world of the subject that transits the Body-without-organs and the intensive differences that populate the desert of multiplicity. Each way travelled is descripted by an artistic map where the haecceities and the thresholds of flows that pierce through the disorganized bodies are portrayed. The map of intensity would be the cartographic representation of the haul travelled by a subject immersed in a hodologic space, being every line of the map a journey within an intensive space [ABSTRACT FROM AUTHOR]

This article is based on the hypothesis that it is possible to conceptualize a poetics of commitment in the work of Antonio López Baeza. To this end, it reflects on the categories proposed by Søren Kierkegaard: aesthetics, ethics and mysticism. From this scheme, we have observed a series of features that lead us to confirm the initial hypothesis through the dialogue between philosophy, theology and poetry. [ABSTRACT FROM AUTHOR]

This article explores the connections that can be established between Walter Benjamin's aesthetic theory and John Dewey's aesthetic theory. To make this comparison, we first analyze Dewey's approach to the notion of aesthetic experience as a way of reconnecting the realm of art with everyday life, and then we study different texts by Walter Benjamin in which he suggests a form of aesthetic experience based on avant-garde art. This work hypothesizes that in both authors the notion of aesthetic experience is understood similarly and answers common problems concerning the place of art in the modern world. [ABSTRACT FROM AUTHOR]

The concept of tradition has been deeply criticised from the French Enlightenment to the present day. Everything that refers to the past, the uses and concepts in the fields of philosophy, aesthetics, politics, and society have undergone great changes in pursuit of emancipation and a quest to be themselves in a new and original way, without depending on antecedent instances. However, from the thought of Luigi Pareyson (1918-1991), we discover the need for a revitalisation of the concept of tradition to be able to develop a revelatory thought about truth, being, and human experience. The Italian philosopher's itinerary starts from aesthetics and the analysis of the role of matter in it to go back to the conception of philosophy as hermeneutics as an interpretation of truth. Tradition will constitute a fundamental notion for aesthetics and hermeneutics and, therefore, for philosophy in general. [ABSTRACT FROM AUTHOR]

The work presented is part of an extensive work, within which it acquires another meaning than the one it has here. For this occasion, it has a sense of openness, and presentation of the spiritual aesthetic dimension, of what I call the history of liberation (see bibliography Bauer, Carlos: 2015, 2016, 2021, 2022, 2024). Therefore, this writing proposes a spiritual path of entry into the history of liberation (to reconstruct one of its keys and excluded dimensions), at the same time, indicating the aesthetic path, as access to the spiritual dimension. It is not the only path, there are others, but it is the one that in this case is explained here. The objective is to achieve an integrated and organic vision of history, with its fundamental social-spiritual mission, constituted as history for liberation. [ABSTRACT FROM AUTHOR]

This article delves into the influence of body, hair and clothing aesthetics on the construction of identity in a group of black women members of a grassroots organization dedicated to working with Afro-Colombian communities in Cali (Colombia). With a cross-sectional qualitative design, through structured in-depth interviews with ten members of the Association of Afro-Colombian Women, AMAFROCOL; bibliographic review; study of audiovisual material; and participant observation, an analysis of different social and substantive dimensions that situate the category "identity" as a relational and non-essential element was carried out. Finally, it is concluded that the hair, the corporeal, the forms of dress and the belonging to an ethnic organization significantly influence the processes of construction of ethnic identity in urban contexts. [ABSTRACT FROM AUTHOR]

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