Aryel Sanat's meticulously researched and cogently argued exploration of Krishnamurti's inner life and experiences explodes a number of popular myths about Krishnamurti, particularly that he denied the existence of the Theosophical Masters and disdained the esoteric side of the spiritual path. Rather, Sanat persuasively demonstrates, Krishnamurti had a rich and intense esoteric life. Moreover, the truths of the Ancient Wisdom, as revealed through the Masters, were a reality to Krishnamurti every day of his life, from his boyhood until (...) his death. The real story of Krishnamurti's inner life is shown to have critical implications for our understanding of Krishnamurti's life and ideas and for our views of Theosophy, Buddhism, the teachings of Gurdjieff---indeed, the entirety of contemporary spiritual thought. (shrink)

Resumo: A relevância do estudo deve-se ao fato de que a cultura da Ásia Central é de grande interesse para a ciência sociológica moderna, enquanto objeto de estudo da interação intercultural, como um fenômeno multifacetado, complexo, controverso e dinâmico. O tópico da influência da cultura e da filosofia ocidentais na ciência das regiões mais orientais, de acordo com os autores, tem sido bastante negligenciado. O objetivo do artigo é estudar a influência da cultura ocidental na ciência dos estados da Ásia (...) Central e do Cazaquistão, incluindo a direção filosófica, histórica e cultural. A abordagem comparativa foi usada para estudar materiais sobre o desenvolvimento da ciência ocidental e sua distribuição nas culturas de países estrangeiros, bem como a análise desses materiais. Como resultado, foi deduzida uma série de afirmações que confirmam a influência da ciência ocidental na ciência do Cazaquistão e dos países da Ásia Central. Concluiu-se que as ideias democráticas, os sentimentos educacionais e os movimentos revolucionários, na Rússia, tiveram um impacto significativo na Ásia Central e no Cazaquistão. (shrink)

Although the following essay does not strictly fall within the discipline of classical Indian philosophy, in which our Journal specializes, we publish it here for two reasons: (1) K. C. Bhattacharya was an outstanding philosopher of India in the past generation, and his thought was deeply influenced by his thorough study of classical Indian Vedanta and Jainism, as well as by the study of Kant (four of our consulting editors were his direct students). (2) His view about the notion of (...) the speakable and philosophy is unique, and it has remained opaque to most of us. Hence some discussion will be illuminating. (shrink)

A class of states obtained by extremizing the energy of a system under certain conditions is introduced and their properties are compared with those of the coherent states. Conditions under which these states move without change of shape and follow the classical path are investigated.

With the emergence and rapid growth of Social Media, a number of government departments in several countries have embraced Social Media as a privilege channel to interact with their constituency. We are exploring, in collaboration with the Australian Department of Human Services, the possibility to exploit the potential of social networks to support specific groups of citizens. To this end, we have developed Next Step, an online community to help people currently receiving welfare payments find a job and become financially (...) self-sufficient. In this paper, we explore some ethical issues that arise when governments engage directly with citizens, in particular with communities in difficult situations, and when researchers are involved. We describe some of the challenges we faced and how we addressed them. Our work highlights the complexity of the problem, when an online community involves a government department and a welfare recipient group with a dependency relationship with that department. It becomes a balancing act, with the need to ensure privacy of the community members whilst still fulfilling the government’s legal responsibilities. While difficult, these issues must be addressed if governments are to engage with their citizens using Social Media. (shrink)

Onur Karamercan, Heidegger'de Sanat Eserinin Yeri: Sanal Müzeler Çağında Sanat ve Mekân adlı yazısında, iki yıldır yaşamakta olduğumuz salgınla birlikte çok daha sık biçimde görülmeye başlayan “sanal müze” veya “elektronik müze” uygulamalarına yakından bakar. Dünyanın en meşhur müzelerinin ve sanat galerilerinin sanatsal ve kültürel etkinliklerden mahrum kalmak istemeyen ziyaretçilerine "kapılarını" elektronik ortamda açtığı ve birçok müzenin de koleksiyonlarını tamamen ya da kısmen dijitalleştirdiği bu ortamda, şu iki soruyu yanıtlamayı amaçlar: 1) Bir mekân olarak bir müzeyi uzaktan ziyaret (...) etmek ve bir müzede sergilenen sanat eserlerini internet üzerinden “deneyimlemek” ne anlama gelmektedir ve 2) bu estetik-dijital “deneyim” (Erlebnis) insanın sanat ve mekân ile olan ilişkisi ve sanat eserinin “tecrübesine” (Erfahrung) dair ne söylemektedir? (shrink)

The terms mural art, environmental art, and site-specific art are used to classify artistic practices that emphasize the relationship between art and space throughout art history. This study delves into the conceptual frameworks of these three categories, aiming to distinguish their differences and overlapping aspects. The role of space in the creative processes of site-related artistic practices has been examined from various perspectives, leading to the development of a classification that highlights the fundamental distinctions between these approaches. Based on a (...) review of literature and analysis of prominent works of art in this field, the study identifies the integrated and permanent nature of mural art, the transient and environmentally conscious nature of environmental art, and the interdependent relationship between site-specific art and the location where it is installed. This research investigates how the interaction between art and space manifests in different ways and shapes the meaning of artworks. It evaluates the validity of this classification through examples, ultimately aiming to expand the understanding of the art-space relationship and contribute to the interpretation processes of artworks created in this context. (shrink)

Despite the fact that in order to become a liveable space for humankind the world owes many things to the scientific point of view, to fill that space with meaning so that it can be our home, is only possible due to the aesthetic relation which man establishes with life. The meaning which is required so that man could make sense of this space can only be brought into this world through the fictional strength of language. Existence which in itself (...) alone is meaningless, indifferent and neutral can only become a stage where humanity dares to appear, thanks to the attributes that it gains through the act of making sense. By overlooking that point the theoretical approach which is symbolized by the Enlightenment destroys according to Nietzsche the basics of the relation between man and life. Today the scientific and technological Perspective which have become the forces of our culture and civilization have already withdrawn themselves from the question of the meaning of life to the point of ignoring its importance. On the other side, due to its natural mechanism, the advantage which the artistic approach possesses comes from the capacity to transform the reality through fiction. Hence, art is maybe one of the most important accomplishments which contributes to the creation of meaning so that man won't perish against this essential indifference of existence. (shrink)

Classicism in architecture and literature; Turkey; history.

Jacques Rancière, Dissensus: Politika ve Estetik Üzerine adlı kitabında uzlaşımı (consensus) şiar edinen post-demokratik devletin, bireyin toplumun bir parçası olarak tanımladığını belirterek politikanın Platon’un Devlet diyaloğunda sunduğu polis’e indirgendiğini öne sürmektedir. Çözüm olarak politikanın, birey (tikel) ile toplum (tümel) arasındaki uyuşmazlığın (dissensus) teşhir edilmesi olarak yeniden düşünülmesini öneren Rancière, Platon’un bir tür an-arşi olarak gördüğü demokrasinin politikayı olanaklı kılması sayesinde aslında ‘daha iyi bir yaşamı’ (eu zen) vaat ettiğini öne sürer. Böylece, post-demokraside öznelliği uzlaşıma dayanan bir söylemde karışan bireyin sesi, (...) politika aracılığı ile yeniden duyulabilir ki Rancière buna duyulurun dağılımı (distribution of sensible) adını verir. Bu makalede, filozofun politika düşüncesinde, polis ile politika kavramları arasındaki ayrım tartışılacak ve bu minvalde, kendisinin uyuşmazlık kavramı çözümlenecektir. Son olarak, Rancière’in siyaset ile estetik arasında aísthêsis (duyumsama) kavramı üzerinden kurduğu bağlantı, kendisinin ‘estetik sanat rejimi’ terimi ile demokrasi yorumu arasında kurulacak benzerlikler üzerinden açıklanacaktır. Sonuçta, post-demokratik bir devlette yalnızca birer tüketici olarak tanımlanan bireye Rancière’in düşüncesinin sağlayabileceği alternatiferden biri örneklenmiş olacaktır. (shrink)

XX. yüzyılın en önemli Müslüman düşünürlerinden olan Aliya İzzetbegoviç’in (öl. 2003) birçok düşünce ve kavram üzerine olduğu gibi sanat üzerine de önemli düşünceleri vardır. Çeşitli eserlerinde sanat konusuna değinmiş olmakla birlikte, İzzetbegoviç, sanat meselesini etraflıca Doğu Batı Arasında İslam adlı kitabının “Sanat Fenomeni” bölümünde ele almıştır. Bu bölümdeki alt başlıklardan biri de “Sanat ve Bilim”dir. “Sanat ve Bilim” bölümünde İzzetbegoviç sanatla çeşitli kavramlar, düşünceler ve disiplinler arasındaki ilişkiye ayrıntılı bir biçimde değinmiştir. Kitabın ismi ve (...) temel iddiası açısından İzzetbegoviç 'in sanat ve bilim meselesine de Batının sanat anlayışı ile Doğunun sanat anlayışından farklı bir yaklaşım tarzı benimseyerek meseleleri ele alması beklenmektedir. Oysa İzzetbegoviç sanatı, Batı sanat kuramı ve özellikle modern Batı sanat kuramı ve estetiği bağlamında ele almaktadır. Verdiği sanatçı ve sanat eseri örnekleri tamamen Batı sanatından olduğu gibi iddialarını desteklemek için kullandığı argümanlar da Batı düşüncesine aittir. Bölümde hiçbir şekilde Müslüman bir sanatçı veya sanat eserinin ismi geçmemektedir. İslam’ın sanat anlayışına dair hiçbir İslam düşünürünün fikirlerine de atıfta bulunmamıştır. Herhangi bir Kur’an ayeti veya Hadis, sanat ve bilim arasındaki ilişkiyi çözümlemek için referans gösterilmemiştir. İzzetbegoviç sanat ve bilim arasındaki ilişkiyi çözümlemek için Batının toplumsal, kültürel, felsefi geleneği çerçevesinde bir düşünce perspektifi ortaya koymaktadır. Bölümde İslam kültürüne, felsefesine veya temel metinlerine başvurarak yapılmış bir çözümleme yoktur. Bu çalışma İzzetbegoviç’in Doğu Batı Arasında İslam kitabının “Sanat Fenomeni” adlı bölümdeki “Sanat ve Bilim” başlığı altındaki düşüncelere nitel araştırma yöntemiyle eleştirel yaklaşmayı deneyecektir. Çalışmanın ana iddiası İzzetbegoviç’in sanat ve bilim konusuna Doğu Batı arasında ve İslam'a has bir biçimde yaklaşmadığı yönündedir. İzzetbegoviç sanata bir İslam düşünürü gibi yaklaşmaktan ziyade Batılı ve dahası aydınlanmacı bir düşünür gibi yaklaşmaktadır. Modernitenin gelenek karşısında kutsadığı sanatçı ve sanat eserlerini büyük bir istekle kabul etmekte, sanat anlamında gelenek ve modernitenin kavgasını ve bu kavganın nedenlerini göz ardı etmektedir. Geleneksel /İslam sanatının ne formuna ne içeriğine ne tarihsel gelişimine ne de bugünkü durumuna dair bir fikir ortaya koymamaktadır. Bu anlamda bölümde İslam medeniyetinin sanatsal ve düşünsel birikiminin izlerini sürmek mümkün değildir. Bu yaklaşım biçimi İzzetbegoviç'i sanat konusunda Doğu Batı arasında İslam'a özgü bir konumdan uzaklaştırıp Batılı/ aydınlanmacı bir konuma yerleştirmektedir. (shrink)

Religious songs have an important place in Turkish Classical Music in terms of maqam, usul, form, composers, and songwriters. The main purpose of this study is to examine the religious songs in Segâh Maqam in the TRT Turkish Classical Music Repertoire in terms of form, usul, composers, and songwriters. The data of the research were obtained through literature and document review. In this context, the musical notes of religious songs in Segâh Maqam were analyzed through content analysis. As a result (...) of the reviews of TRT Turkish Classical Music Repertoire, a total of 107 religious songs in Segâh Maqam has been identified. In the form analyses of the identified religious songs, it was found that İlâhi, Durak, and Teşvih forms were used frequently; in the usul analyses, it was found that Sofyan, Düyek, Devr-i Hindî, Durak Evferi, Yürük Semaî and Nim Sofyan usuls are used frequently; in the composer analyses, it was found that Bekir Sıtkı Sezgin, Güldeniz Ekmen, Amir Ateş,, Hüseyin Sâdettin Arel, Erdinç Çelikkol Zeki Altun, Faruk Şahin, Halil İbrâhim Taşkent, Hüseyin Sebilci, Mehmet Tulûî, Sadettin Kaynak, Süleyman Erguner, and Ümit Gürelman have more religious songs compared to other identified composers; in the songwriter analyses, it was found that Yûnûs Emre, Niyâzî-i Mısrî, Eşrefoğlu Rûmî, Hamdi Özer, İbrâhim Hakkı, Sezâî, and Yûnûs have more songs compared to other identified songwriters. (shrink)

While developing his ideas on art, Gadamer puts forward a critique of Kant’s thoughts on aesthetics. Aesthetic pleasure and experience cannot be handled on a subjective or formalist ground, as Kant thought. It can only be understood if it can be based on a social or communicative basis. Aesthetics pleasure and experience can only occur and be analysed in plays and festivals. The dynamics of art is related to the dynamics of the play, and one can experience the truth when (...) one is involved in a play’s dynamics, whether one is the audience or the creator. The Play transcends subjective experience and has an authentic and an original feature. The play has a mode of being itself. In this way, players have the opportunity to transcend their own subjectivity. The Play as an experience that opens people to others points out at the same time a Bildung (learning and training) process. Play as an interactive activity allows the players to present their capacities and selves. Players present themselves in the play and become free. But this depends only on the seriousness of the play and its regularity. Play has its own rules and risks. The possibilities in the play invite the player to take risk. Risk is the attraction that the play presents to the player and the player can play to the extent that he is attracted to it. According to Gadamer, the play has both a repetitive nature and no certain purpose [...]. (shrink)

The position of art in its juxtaposition of progress and development can be historically brought back to the position of its object in the context of its ideological and iconological discussion. The distortion of the art object in the aesthetic experience is not about the subject, but about the expectation that the art object establishes the art world among different forms of evaluation as the object of an evaluation act. The jurisdiction of criticism cannot be put forward at this point, (...) and cannot be talked about, as a result of its relevance to its ontological and epistemological bases. With all its experienced actors, the world of art is not a world of aesthetic experience with appreciation. In this study, how the object of art is distorted in aesthetic experience in the new art world created by the relevance of art will be handled from the perspective of Shusterman. (shrink)

Critique of the Power of Judgment is the third work of Kant’s critical philosophy. Kant states that he has put this work on paper to complement his critical philosophy. This statement of completion constitutes the transition that is required between the theoretical and practical areas of philosophy. According to Kant, transition from the theortical area, or natural area to the practical area, or the area of freedom is not possible. Moreover, principals in the area of freedom need to be realised (...) in the area of nature. Kant has presented a system that establishes art as the bridge from the area of freedom to the area of nature. With regard to this system, genius is the skill that provides the rules for art through nature and as one definition of beautiful in Critique of the Power of Judgment, Kant identifies beautiful as the transition of aesthetical ideas thorough genius. This transition occurs as a result of the judgment of taste by means of the free play of imagination and understanding. My aim in this study is to clarify how imagination that is not limited by understanding widens up and is presented as [non-conceptional] aestethical ideas through art. In order to put forth this representation with all its clarity, I will try to elucidate the meaning of the transition from the practical area of philosophy to its theoretical area, which is crucial according to Kant. In this contect, I wil emphasize the nature of judgments of taste, relation of nature-art, classification of fine arts, and the role of genius in emerging aestethical ideas. (shrink)

Nurettin Topçu (1909-1975) built religious philosophy on the philosophy of willpower and motion. For him, willpower is the existence of a conscious balance between driving and braking forces that are innate and flowing from the inside out of us. Willpower is constantly rising towards God and infinity with a historical motion. The aim of willpower is to help human reach eternity. This historical motion occurs in accordance with certain steps. Willpower is affected not only by individual habits and passions but (...) also by the social structure. The function of willpower for humans, who are longing for eternity, is to make them recognize the consciousness and anguish of God. With this awareness, the human moves on to the motion. The willpower, which realizes the direction and aim of the motion, emerges in social structures such as State and nation, and takes up the role of establishing and sustaining these structures. Willpower lastly shows itself in art. The artist, who longs for eternity and can’t find a way to reach it, feels the lack in his willpower, acts to complete the lack and gets engaged in an existence or a thing. This engagement is a savior illusion and love that means sheltering someone other than himself with his total willpower is born. Upon the completion of this lacking, faith (love) emerges. The spirit falls in love with motion. Faith has two dimensions. When the artist turns to ‘the only” and “the internal”, this is called religious faith. If he leans to/relies on/believes in plurality and the external, this is called aesthetical faith. When, in time, the body that leans to the external and the spirit that turns to the internal surrenders to the eternity, the transcendent, God as a whole, mystic faith occurs. ‘Truth’ rises from this mystic union and surrender to love and thereby renaissance initiates. Because the driving power that starts renaissance is art. The understanding of religious experience of Topçu is nested with art. As art generates religious experience, renaissance emerges as a result of religious experience and the human reaches salvation in every sense. (shrink)

The human being labours to understand and signify both the external world and himself - sometimes by objectifying himself with the potential he possesses; one of these labours emerges as art. Neither definition nor determination of the content of the concept of art is so clear cut because of its controversial nature in relation both to its different forms and references as the source of meaning. Some could assert even an ambiguity or boundlessness, insomuch as rejecting an essentialist concept of (...) art encompassing all different kinds or forms of art. Therefore, this article attempts to ground the argument that art is one of the basic and constitutive procedures of signifying the external world - like philosophy and science – with the human being as the signifying subject. (shrink)