núm. 78 (en-ju) (2011): estética, arte y educación

This article begins with a description of the change of era taking place right now,by analyzing social orderlevelsinculture, communication andtechnology. Fromthere are extracteda series of challengesfacedby any contemporary education project. In this framework, some key points from the aesthetic theory by Theodor Adorno are discussed. What we attempt to propose is an aesthetic conception of assumed as conceptual mediation the subject’s experience with its environment.Thisisthe firststep to build an educational project that meets one of its most pressing challenges: reducing the gap between technological development and itsrespective cultural mediations.

Sade’s name is usually associated almost exclusively with sexual orgies. But he spent 30 years in jail because of his "free love" ideas. There is nevertheless a parallelism between a totalitarian State of the social order and those by Vassort with his “productivist society”, that Sade does not care to hide. In this manner, Vassort’s well-known example of “the end of man and humanity that symbolizes the search for the Absolut” in the face of the "death madness" findsits correlate with Sade’slibertine search to “make all institutions disappear and establish total power”. All ofthe above constitute aspects of a totalitarian State.

This research raises the possibility conditions of aesthetic experience from the formalsetting of the art objects. Its articulation begins with the classical considerations about the problem of the constitution of reality. The point of the discussion begins with the powerful kantian intuitions about the concept of purpose. It brings into the discussion the paradoxical nature of the principle of identity and causality.We interpretthe classical and modern approaches from a phenomenological description. The main thesis of the paper will be: the intimate relationship between the mode of appearing of art objects and the appearance of the artwork. The convergence of this approacheswillshowthat contemporary aesthetic theoryhashighlightedthe critical relationships between logical, aesthetic form and artistic form. Thus we recover the requirement of a formal ontology in which the dynamisms of subjectivity and the way they shape the world are exhibited.

This paperfocuses on the defining frameworks of one ofthe mostimportant problems ofthe artphilosophy:the ontology ofthe artwork.We considerthat a prerequisite to attemptsto raise an answer to the problem isto give clarity to the philosophical problem.To this extent,the text presentsitsrootsin the traditions of Kant and Hegel and then discusses some of the answers that contemporary philosophers have raised about the issue. The debate shows that it is possible to establish the outline of the problem of the ontology of the artwork between at least two limits, sensation and meaning. However, thequestionsremains aboutwhetherto holdthe aforementioneddichotomy is yet a plausible strategy.

This essay –written in memory ofthe French writer, on the fiftieth anniversary of his death– pretends to link, through the artistic creation, two important men, who born with little difference in years, took part in the conflicts of their time, taking that involvement to the greatest danger, although from differenttraditions and circumstances.These as well asthe others had much impact on the reading and film adaptation of a novel with which Luchino Visconti pretended to immerse the human destiny of Camus’s anti-hero in the political background of the Algerian war.

In thisstudy, we believe thatliterature provides enough cluesto understand the culturaltransformations of our country.The representations ofsensitivity and imaginaries of Colombian urban novels offer lines of sense to make a cultural sketch of the transformations beginning early in the XXI century. The mythical and baroque emphasis of García Márquez’s magic realism has transmuted to a more urban, minimalist and hyperrealistic tone.Despite the change,the final balance leadsto a similar output: fallen leaves, a dysphonia, a trap. This feeling of hopelessness and uprooting is repetitive in the recent novel. Insistence thatis finally representing the following cultural imaginary: Cancellation of the vital impulse (erotic) at the hands of dysphoric drive (Thanatos).

This text is a reflection on the category of models, a reflection that thinks with models,from models and for models.We also think, interpret and review the significance of the model. And not just because models demand their place from the artistic tradition, but for what they mean for aesthetics, and even for philosophy and science, for what it is coming and going of thought between materiality and the exercise of thinking about the craft.

The purpose of this text is to examine the sense of art and humanity’s teaching into the current university trends in Latin America. I take the educational proposal of J. J. Brunner as a set of ideas to answer to the new social challenges that globalization demands in our hemisphere.

Professor Luis Alvarez in his book Falcon proposes a reading of the phenomenon of art bearing in mind the problem of reality and knowledge.

An essay is evidence of research as well asthe overcoming of obstacles and difficulties. This essay is intended to overcome the difficulty in the “writing” process to go from the reading ability to linking verbal concretions, not of intuitions but of argued ideas.