Gerald Cipriani

Ever since Plato's condemnation of the poets who did not deserve a place in his ideal city poetry has, in areas of the Western world, drawn suspicion as for its ability to convey the "truth." Philosophy, then, was thought to be a better candidate assuming that the truth in question could only be "discursive" as opposed to "poetic." In the West, the tension between poetry and philosophy reached a quasi-chiasmatic peak with modernism, a period during which the poem asserted in the most radical way its own mode of thinking. Alain Badiou in his Que pense le poème? qualifies the singularity of poetic thought in terms of "musical silence." Yet, in spite of the depth and beauty of the image, the poem falls short of being considered as philosophical thought proper. By moving away from a conception of philosophy centred on logos as method, the poem may conceivably reveal a profoundly philosophical nature. Such is the case with the poetic prose of French contemporary writer Christian Bobin. Starting from Badiou's conception of "musical silence" in poetry this essay reflects on the extent to which emptitude at work in Bobin amounts to a uniquely philosophical mode of thinking.

Globalisation has pervaded all aspects of our lives in many parts of the world. The phenomenon is obviously not only economic and technological; globalisation has affected human and cultural relationships, identity formations, and our ability and willingness to be attentive to our fellow human beings and the places of our worlds. Globalisation has generated particular forms of cultural practices and the ways we perceive and interpret them. But beyond the simple realisation of such mutations, the question is whether cultural experience, be it existential, religious, political or aesthetic, can still be the guarantor of authentic human relationships, genuine intercultural encounters, or dialogical renewing, offering thus a fruitful mode of redemptive resistance against the forces that may soon plunge us into the existential catacombs of globalisation.

Far from having overcome the human, all too human essence of knowledge the West has replaced its modern objectifying subjectivity by what may be called a postmodern subjectifying subjectivity. The modern will to power and its drive for controlling the Other has given way to a postmodern form of 'unavailability', a key concept in the ethical reflections of the Christian Socratic philosopher Gabriel Marcel. This paper attempts to highlight the degree to which fundamental features of Postmodernity, from instrumental technology to fragmented temporality and decentered subjectivity are infiltrating our existential condition. It is argued that one of the most striking symptoms of such a phenomenon is unavailability, especially in the artistic sphere.

The overall concern of this issue is not really to question whether there is such a thing as “African philosophy.” Any question concerning “African philosophy,” i.e. a specifically pan-African discipline with its own methods and forms, is partly different from that of “African thought” in general, for the latter includes not only processes of consciousness that reflect on the natural and human fields, but also practices whose very nature is to create or express specific cultural textures. The choice of “African Thought” – rather than “African Philosophy” – in this series of essays is a way of leaving the door open to thought-practices that would be considered as foreign or simply borderline to what is usually considered as philosophy by the Western establishment, that is, by those who have come to believe and persuade the rest of the world that the love of wisdom is the love of logos.

This essay attempts to address ethical issues concerning interpretation and art practices. It explores an alternative to both modern institutional authority and postmodern nihilism by referring to the concept of 'creative fidelity' developed by the French 'existentialist' philosopher Gabriel Marcel. As it is well known, contemporary radical reactions against the excesses of modernity in the Western world have led to a profound mistrust in the idea of subject/object, and have as a result favoured attitudes which tend to dissolve such a dichotomy. These attitudes, by expressing the contingency, indeterminacy, or groundlessness of meaning, have triggered the disappearance of the Self, authorship, authenticity and in-sight. How is it therefore possible to interpret, make, or even teach art in a meaningful manner without imposing frameworks, closures, boundaries, or perspectives? This, it is argued, can be achieved by understanding the vital complementary relationship between innovation and faith, creativity and fidelity, renewal and consideration, offering thus a possible alternative to today's crisis of meaning in art. /// Este ensaio visa o tratamento de questões éticas relativas à interpretação e às práticas artísticas, explorando uma alternativa tanto à autoridade institucional moderna como ao niilismo pós-moderno a partir de uma reflexão sobre o conceito de "fidelidade criativa" desenvolvida pelo filósofo existencialista francês Gabriel Mareei É sabido que as reacções radicais contemporâneas contra os excessos da modernidade no mundo ocidental conduziram a uma profunda desconfiança da ideia de sujeito/objecto, resultando no favorecimento de atitudes que tendem a dissolver essa dicotomia. Estas atitudes, mediante a expressão da contingência, indeterminismo ou ausência de fundamento para o sentido, levaram a um desaparecimento do Si-mesmo, do princípio do autor, da autenticidade e da intelecção interior. Como é que será possível interpretar, fazer, ou até ensinar arte com sentido sem ao mesmo tempo impor esquemas, limites ou perspectivas? Isto, assim vai o argumento, pode ser alcançado mediante a compreensão do relacionamento vital complementar entre inovação e fé, criatividade e fidelidade, renovação e consideração, oferecendo dessa forma uma possível alternativa para a contemporânea crise de sentido na arte.

The academic world, at least in the West, has traditionally always been suspicious when it comes to introducing in its quest for knowledge notions of materiality, touch, texture, or “haptics” – in other words what is generally associated with sensory-experience. In the human sciences and the artistic fields the practice of research has always privileged “textual reason” over “sensory texture,” the textual over the textural. Only in the recent past have so-called postmodern theories of all kinds attempted to overcome the hierarchical dichotomy between discursive reason and embodied thought. Unfortunately, this has very often created an unprecedented ragbag of epistemological confusions and identity crises. This essay shall attempt to explain and clarify the epistemological nature of materiality, touch, texture, or “haptics,” and the role it can play in academic research in the artistic fields with particular reference to ideas developed by French philosophers Maurice Merleau-Ponty and Emmanuel Levinas.

Jean-François Lyotard in Discourse, Figure interprets the phenomenon of meaning-formation from the Lacanian standpoint of the unconscious, desire, and jouissance. There is, however, always the danger that the order of discourse be replaced by the order of jouissance, for such an order of interpretation comprehends meaning-formation as a discrete entity, that is, in non-relational terms. Similarly, in The Conflict of Interpretations, Paul Ricœur’s descriptive hermeneutics of negotiation falls short of fully considering the intrinsically relational nature of meaning-formation in so far as his way of bringing different methods of interpretation into relation with each other (structural semiotics, Freudian psychoanalysis, and phenomenology) amounts to a comparison between discrete entities.This chapter unfolds a relational critique of Lyotard’s determinant mode of interpretation and Ricœur’s hermeneutic methodology to pave the way for a configuration whereby each element involved (such as interpreting minds, values, and physical objects) should be understood as “dependently co-arisen”, to use the established Buddhist phrasing. Each method of interpretation therefore contributes to a holistic configuration that makes up the stuff of “reality” through a dynamic of mutual balancing between complementary, differential entities. The issue is therefore not only reflexive and epistemological but also mesological and ethical.

This essay develops a critique of various modes understanding what is "a moment of meaningful form in art." Approaches that maintain a separation between form and content, or the subjective and the objective cannot truly do justice to the presentational nature of meaning in art. In particular, the essay discusses Mikel Dufrenne's conception of "expression" in his The Phenomenology of Aesthetic Experience as being paradoxically misleading when it comes to understanding the experience of meaning in its phenomenality. The essay concludes with the need to bear in mind that the relationship between presentation and representation, or experience and objectivity should be comprehended in terms of "complementary difference."