Erika Natalia Molina Garcia

Intentando responder por el cambio que significa la filosofía contemporánea occidental respecto a su pasado, y a través del análisis de nociones tradicionales de movimiento y cuerpo, mostramos el lazo que une dirección, coreografía y las propias expectativas actorales del danzante, a ciertas concepciones muy particulares de verdad y fidelidad, arraigadas en ideas de tiempo y espacio que son desactivadas en la práctica de la danza, sobre todo en sus fases de investigación corporal, donde aparecen más bien danzas insignificantes y espacios vividos, refractarios a las lógicas del espacio objetivo, el escenario y el espectador

Drawing on phenomenological aesthetics and on the haptic aesthetics of eating as a form of everyday aesthetics, I examine the phenomenon of eating our own as meaningful in three dimensions: vital/natural, somatic/individual, and cross-cultural. Usually conceived as a concrete, rare, and foreign practice, I show how cannibalism is present in our daily lives, both symbolically and as a liminal possibility towards which – as Freud noticed in 1913 – we all tended as children. Cannibalism is present not only in cinematic, literary, or visual art, and in anthropological research that situates it far from “us,” but through narratives and carnal dispositifs of differentiation/assimilation of the Same and the Other, fundamental for our subjective constitution. I conclude with a reflection on how the classical aesthetics of the sovereign subject develops towards alternative models like Pelluchon’s gourmet ego that re-establish the connexion and moral engagement lost by solipsism by means of alimentary metaphors, but also romanticizing them, failing to address the problem of voracity and overconsumption, both at a social and at an individual level. This is more suitably addressed by Viveiros de Castro’s idea of a cannibal cogito, but even better understood by Emmanuel Levinas’ enjoyment-contact model of subjectivity.

In this article, I explore the role of the body in Indian thought through the lens of Lilian Silburn’s works, focusing on the idea of carving the cosmos, namely of somatic performances that have cosmological relevance. First, I delve into her biography, to study, subsequently, her analysis of ancient Vedic philosophy, the Brāhmaṇa, the Upanişad, and Buddhism. In this manner, I touch upon a series of conceptual developments, trying to understand the constant tensions between the discontinuous and the continuous, the non-arranged and the arranged, the multiple and the One, and finally between eternalism and nihilism. I conclude by examining the way Buddhism has of resolving these tensions in the non-substantial theory of Karman.

The work of Emmanuel Levinas has been both abundantly recognized and criticized in moral philosophy. This Janus-faced attitude is also present in ecological theories, which find fertile ground in Levinas’ thought without being able to explain its apparent anthropocentrism. Opposing hermeneutical paths tend to focus either on otherness as an absolute alterity, implying a potentially unlimited responsibility for all alterities, or on otherness as a re-foundation of humanism, leading to the conclusion that responsibility is unlimited only among humans. Here I seek to disentangle Levinas from these two extreme interpretations, first by reviewing ecological readings of his philosophy, in both the Francophone and Anglophone spheres, and second by analyzing specific Levinasian terms that might be particularly helpful for a non-anthropocentric or deep ecology. The main results of this investigation are a distinction between the ethics of responsibility and the ethics of vulnerability, an explanation of Levinasian compulsory or methodological humanism, and a schematic model of sensibility as enjoyment/vulnerability capable of supporting deep ecology without the traditional notions of free will, rights, or values.

As touch remains commonly defined by the closeness it physically implies and it rhetorically evokes, the mere notion of distant touch and of distal haptic perception seems peculiar. But Aristotle’s perspective, which I wish to take as a point of departure, is firm: we perceive the objects of touch, the hot and the cold, the hard and the soft, the curved and the sharp, through other things: δι' ἑτέρων. In this article, I would like to explore this ἕτερος by showing how the otherness of perception always implies an intermediary, a middle point (μέσος), i.e. an other not so other, an other that is able to translate the much more distant otherness of the perceived object. To explore these forgotten layers of alterity that fall into what we commonly conceive of as the impalpable emptiness of distance, I propose to study the idea of distant touch from the perspective of phenomenological aesthetics. In order to do so, I will first examine some aspects of the Husserlian account of perception and will then focus on the phenomenology of distant touch in Alejandra Costamagna’s novel El Sistema del Tacto [The System of Touch] (2018)

In this article, I explore the role of the body in Indian thought through the lens of Lilian Silburn’s works, focusing on the idea of carving the cosmos, namely of somatic performances that have cosmological relevance. First, I delve into her biography, to study, subsequently, her analysis of ancient Vedic philosophy, the Brāhmaṇa, the Upanişad, and Buddhism. In this manner, I touch upon a series of conceptual developments, trying to understand the constant tensions between the discontinuous and the continuous, the non-arranged and the arranged, the multiple and the One, and finally between eternalism and nihilism. I conclude by examining the way Buddhism has of resolving these tensions in the non-substantial theory of Karman.

There is a relationship between touch and language at the heart of which lies the philosophical problem of the secret. As Derrida points out, since Aristotle touch has been qualified as ἄδηλον: secret, nocturnal, barely apparent. After some brief etymological remarks, in this article, I explore the mystery that touch represents for language through Levinas’ concept of the secret, thematizing two levels: first, that of the contemporary critique of ocularcentrism, then the level of the tactile experiences that can hardly be put into words.

El presente artículo introduce la traducción del francés al español del estudio sobre la espacialidad en Gilles Deleuze realizado en 2010 por el profesor Guillaume Sibertin-Blanc: «Cartografía y territorios». Se presenta, para ello, una lectura culturalista de la filosofía occidental del espacio, destacando dos de sus rasgos, la hiperfecundidad y el temporalismo, que retoma el que es considerado aquí como el primer esbozo de tematización de las cartografías tacto-libidinales de lo vivo, a saber: la filosofía aristotélica del alma. Así, se espera contextualizar y apreciar de mejor manera toda concepción de la espacialidad que rehabilite la hiperfecundidad del espacio y evacúe el temporalismo, permitiendo desactivar las concepciones tradicionales de subjetividad e identidad, tal como logra hacerlo la geofilosofía de Deleuze.

With the aim of grasping the transformations the study of thermal touch from a phenomenological perspective could bring to the aesthetic field, in the first part of this paper, I introduce the general idea of a plastic sensorium in the context of the Aristotelian doctrine of life as dependant on haptic conditions of thermal homeostasis. In the second part, I explore some recent studies in the field of haptic aesthetics, as they root themselves in phenomenological tradition and ideas. In the third part, I present Husserlian considerations on thermal touch and the cosmological questions a thermoaesthetics raises. I conclude by highlighting two paradoxical concepts that, I consider, the aesthetic analysis of thermal experiences, as they relate especially to fire, should try to understand: counter-hormesis and pyrification.