约•德•穆尔：《论（生物）技术崇高》，雷礼锡译, 载范明华、黄有柱主编：《美学与艺术研究》第5辑，武汉：武汉大学出版社，2014年，第175～185页。

Jos de Mul, "Lun (Sheng Wu) Ji Shu Chong Gao" (The (Bio)technological Sublime), trans. by Lei Li-xi, in Research of Aesthetics and Art (Mei Xue Yu Yi Shu Yan Jiu), Vol. 5, edited by Fan Ming-hua & Huang You-zhu, Wuhan: Wuhan University Press, 2014, 175-185. 

论（生物）技术崇高 [荷]约·德·穆尔 著 雷礼锡 译

如果说崇高概念以前习惯用于表明人类主体感到努力代表自然所体现的不足，那么后现代境遇——其中自然本身已被淡忘——业已产生一种崇高感，人类发现自身与自己的造物相对立 戴尔·查普曼 引言

自从18世纪中叶美学作为哲学的一门特殊学科出现[①]，其历史就体现了两个明显趋向，体现了（后）现代艺术与文化作为一个整体的独特发展。一种趋向是，美学的发展表现为审美范畴的显著分化和增加。早期的美学主要集中在美的范畴，19世纪初至今宽泛的新的审美概念已经出现，如崇高、讽刺、滑稽、荒诞、平庸。毫无疑问，这一发展反映了现代艺术自身的发展，它不停地扩大审美经验和表达的领域。美的艺术成了“永不再美的艺术”。

Jos de Mul. Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology. State University of New York (SUNY) Press, 2014. 

Destiny Domesticated investigates three approaches Western civilization has tried to tame fate: the heroic affirmation of fate in the tragic culture of the Greeks, the humble acceptance of divine providence in Christianity, and the abolition of fate in modern technological society. Against this background, Jos de Mul argues that the uncontrollability of technology introduces its own tragic dimension to www.kachinwomen.com our culture. Considering a range of levitra online usa literary texts and contemporary events, and drawing on twenty-five centuries of tragedy interpretation from philosophers such as Aristotle, Hegel, Nietzsche, and Heidegger, literary critics George Steiner and cialis free sample canada Terry Eagleton, and others, de Mul articulates a contemporary perspective on the tragic, shedding new light on philosophical topics such as free will, determinism, and the contingency of life.

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Jos de Mul and Renée van de Vall (eds.). Gimme Shelter. Global Discourses in Aesthetics. International Yearbook of Aesthetics. Vol. 15. Amsterdam: Amsterdam University Press, 2013.

Gimme Shelter. Global discourses in aesthetics contains a series of reflections on the impact of globalization on the arts and the aesthetic reflection on the arts. The authors – fifteen distinguished  aestheticians from all over the world -   discuss a variety of aesthetic questions brought forth by the aforementioned process of us overnight cialis globalization. How do artistic practices and aesthetic experiences change in response to these developments? How should we articulate these changes on the theoretical level? When reflections on the significance of art and aesthetic experiences can no longer pretend to be universal, is it still possible to lay claim to  a wider validity than merely that of one’s own particular culture? What type of vocabulary allows for mutual – dialogical or even polylogical – exchanges and understandings when different traditions meet, without obliterating local differences? Is there a possibility for a creative re-description of globalization? And is there a meaning of ‘the global’ that cannot be reduced to universalism and unification? Can we seek shelter in a legitimate way?

Free download of the entire book (Open Access edition)

Jos de Mul. (ed.),Plessner's Philosophical Anthropology. Perspectives and Prospects. Amsterdam: Amsterdam University Press, Autumn 2014.

The work of the German philosopher Helmuth Plessner (1892-1985) inspired generations of www.richcongress.com scholars and has been enjoying a recent renaissance. This volume offers the f irst substantial English-language introduction to Plessner’s philosophical anthropology, contextualising it by comparison with the more familiar contemporaries such as Bergson, Cassirer and Merleau-Ponty, but also showing his relevance to best price pharmcy 180 tramadol  contemporary discussion in a variety of scholarly fields.

September 2014 - Hardback - 156 x 234 mm - 482 pages
ISBN 978 90 8964 634 7 - e-ISBN 978 90 4852 310 8 - €119.00 / £96.00

Jos de Mul. 后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy. Wuhan: Wuhan University Press, 2010, 306p.

ISBN 978-7-307-08019-5
RMB 42.00

An erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy.

In this erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy, Jos de Mul sheds a fascinating light on the ambivalent character of our present culture, which oscillates between modern enthusiasm and postmodern irony. Along the best price for generic cialis way, he engages the work of such thinkers as Nietzsche, Freud, Heidegger, Habermas, Lacan, Barthes, and Derrida; visual artists Magritte and Stella; poets George and Coleridge; and composers Schonberg, Cage, and Reich, among others, providing a sort of intellectual history of Romantic, Modernist, and Postmodernist "tempers."

Click on 'Read more' for reviews, rating and legal pharmacy online social media.

Jos de Mul. Cyberspace Odyssey. Towards a Virtual Ontology and Anthropology. Castle upon Tyne: Cambridge Scholars Publishing, 2010, 334 p.

Translation of Cyberspace Odyssee, Kampen: Klement, 2002 (Dutch)
ISBN (10) 1-4438-2127-6, ISBN (13) 978-1-4438-2127-8  
₤ 44.99 (Order); US $: 67.99 (Order)

The emergence of the hominids, more than five million years ago, marked the start of viagra pills australia the human odyssey through space and time. This book deals with the last stage of this fascinating journey: the exploration of cyberspace and cybertime. Through the rapid global implementation of information and communication technologies, a new realm for human experience and imagination has been disclosed. Reversely, these postgeographical and posthistorical technologies have started to colonize our bodies and minds. Taking Homer’s Odyssey and viagra in usa Kubrick’s 2001: A Space Odyssey as his starting point, the author investigates the ‘informatization of the worldview’, focusing on its implications for our culture–arts, religion, and science–and, ultimately, our form of life.

Moving across a wide range of disciplines, varying from philosophical anthropology and palaeontology to information theory, and from astrophysics to literary, film and new media studies, the author discusses our ‘cyberspace odyssey’ from a reflective position beyond euphoria and nostalgia. His analysis is as profound as nuanced and deals with issues that will be high on the agenda for many decades to come.

In 2003 a Dutch Edition of Cyberspace Odyssey received the Socrates Prize for the best philosophy book published in Dutch.

Jos de Mul. Romantic Desire in (Post)Modern Art and Philosophy. Albany: State University of New York Press, 1999, 316 p.

Translation of Het romantische verlangen in (post)moderne kunst en filosofie, Rotterdam: Rotterdamse Filosofische Studies (Dutch)
ISBN 0-7914-4217-9 (hard cover)
ISBN 0-7914-4218-7 (paperback)
US $ 55.38 (Order hard cover ); US $: 16.00 (Order paperback )

An erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy.
In this erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy, Jos de Mul sheds a fascinating light on the ambivalent character of our present culture, which oscillates between modern enthusiasm and postmodern irony. Along the way, he engages the work of such thinkers as Nietzsche, Freud, Heidegger, Habermas, Lacan, Barthes, and Derrida; visual artists Magritte and Stella; poets George and Coleridge; and composers Schonberg, Cage, and Reich, among others, providing a sort of intellectual history of Romantic, Modernist, and Postmodernist "tempers."

Click on 'Read more' for reviews, rating and social media.

Jos de Mul, Comprendere la natura. Dilthey, Plessner e la bioermeneutica. Lo Sguardo - rivista di filosofia. Vol. 14, no.1 (2014), 117-134.

Abstract: In recent years, authors like Chebanov, Markŏs, and Ginev have attempted to implement hermeneutic categories in the domain of biology. Against this background, the author takes Dilthey’s scattered remarks on the notion of roguelephant.com the organic and Plessner’s biophilosophy as his starting point for the development of a biohermeneutical theory of biological purposiveness, which aims at bridging the indian viagra gulf between the natural and the human sciences. Whereas the natural and human sciences are closely connected with a third-person and buying generic viagra a first-person perspective respectively, the author argues that the second-person perspective plays a crucial role in the life sciences. In opposition to the natural sciences, in which causality is the key notion, and the human sciences, which rest on the notion of meaning, the author argues that the central concepts that characterize the second-person perspective of the life sciences are functionality and intentionality.

Nella Lebensphilosophie di Dilthey, l’antropologia e la storia sono strettamente connesse. Come lo stesso Dilthey afferma in una sentenza spesso citata, «Was der Mensch sei, sagt ihm nur seine Geschichte»^[2]. Tuttavia, per Dilthey storia significa solamente storia culturale. Per sviluppare una comprensione adeguata della condizione storica dell’uomo, dovremmo prendere in considerazione però anche la storia naturale. Dopo tutto, in quanto unità psico-fisica, l’Homo sapiens sapiens è il prodotto storico di un’iterazione complessa tra sviluppi sia naturali che culturali. Inoltre, all’epoca delle scienze della vita, la storia naturale e quella culturale sembrano sempre di più sconfinare l’una nell’altra. Le biotecnologie quali l’ingegneria genetica, l’ingegneria metabolica e il trapianto di genoma trasformano gli organismi in artefatti culturali e nel tentativo di creare la vita artificiale (probabilmente il Santo Graal della biologia di sintesi), gli artifatti culturali manifestano via via maggiori qualità prima riservate alla vita organica.

In quanto segue argomenterò la tesi secondo cui l’ermeneutica di Dilthey, specialmente la sua analisi della triade Erleben, Ausdruck e Verstehen, offre ancora un proficuo punto di partenza per lo sviluppo di una bioermeneutica che non ha a che fare solamente con la comprensione umana e con l’interpretazione degli esseri, delle (inter)azioni e degli artifatti umani, ma che include anche la comprensione e l’interpretazione di e da parte di agenti non-umani. Il fatto che Dilthey nei suoi ultimi scritti ermeneutici distingua in maniera piuttosto dogmatica tra natura e cultura pare senza dubbio di primo acchito un ostacolo per lo sviluppo di una bioermeneutica ispirata al suo pensiero. Per esempio, Dilthey rifiuta esplicitamente la possibilità di una comprensione umana della vita delle piante: «Bedeutung oder Wert kann etwas nicht haben, von dem es kein Verstehen gibt. Ein Baum kann niemals Bedeutung haben» (GS VII, p. 259). La possibilità di una comprensione o di un’interpretazione da parte di agenti non umani non è poi nemmeno considerata da Dilthey. Eppure, sosterrò che gli scritti tardivi di Dilthey sull’ermeneutica contengono qualche traccia per lo sviluppo di una bioermeneutica. Svilupperò oltre queste tracce con l’aiuto della biofilosofia di Plessner e grazie a qualche riferimento ad alcuni recenti sviluppi negli ambiti della biologia dei sistemi e della neuropsicologia^[3].

Innanzitutto, riprendendo il dibattito sulla demarcazione delle Naturwissenschaften e delle Geisteswissenschaften che ebbe luogo in Germania attorno al 1900, avanzerò la tesi secondo cui in quel dibattito erano in gioco varie dicotomie ontologiche, epistemologiche, fenomenologiche e normative che non combaciano. Dirò poi che queste dicotomie precludono una comprensione adeguata del carattere peculiare delle scienze della vita, a metà strada tra le scienze della natura e quelle umane (§ 1). Mostrerò in secondo luogo che Dilthey, nonostante il suo approccio per lo più dicotomico nel dibattito su tale demarcazione, a sua volta fondato sulla distinzione tra esperienza esteriore (prospettiva alla terza persona) e interiore (prospettiva alla prima persona), in qualche occasione ha riconosciuto lo statuto speciale delle scienze della vita, connesso con la «conformità di scopo (Zweckmäßigkeit)» immanente delle entità viventi (§ 2). In terzo luogo, dirò che la comprensione del finalismo immanente richiede l’esperienza da una prospettiva alla seconda persona, incarnata e interattiva (§ 3). Al fine di sostenere tale ipotesi, farò riferimento all’analisi di Plessner della triplice dimensione corporale della vita umana in Die Stufen des Organischen und der Mensch (§ 4). Nell’ultima parte, fornirò una breve visione d’insieme dei differenti tipi di interpretazione intraspecie, interspecie e intraorganica e traccerò i compiti che attendono la bioermeneutica (§ 5).

Valerie Frissen, Jos de Mul, and Joost Raessens. Homo ludens 2.0: Play, Media and Identity, in Judith Thissen, Robert Zwijnenberg and Kitty Zijlmans (eds.), Contemporary Culture. New Directions in Art and Humanities Research. Amsterdam: Amsterdam University Press, 2013, 75-92.
 

Foreplay

Immense est le domaine du jeu.  (Emile Benveniste)

A spectre is haunting the world - the spectre of playfulness. We are witnessing a global “ludification of culture”. Since the generic discount levitra 1960s, in which the word “ludic” became popular in Europe and the United States to buy cheap cialis online designate playful behaviour and artefacts, playfulness has increasingly become a mainstream characteristic of our culture. Perhaps the first thing that comes to mind in this context is the immense popularity of viagra gel computer games, which, as far as global sales are con­cerned, have already outstripped Hollywood. According to a recent study in the United States, 8 to 18 year olds play computer games on average for one hour and a half each day on their consoles, computers and cheap cialis without prescription handheld gaming devices (including mobile phones).¹ This is by no means only a Western phenomenon. In South Korea, for example, about two-thirds of the country’s total population frequently plays online games, turning computer gaming into one of the fastest- growing industries and “a key driver for the Korean economy”.²Although perhaps most visible, computer game culture is only one manifesta­tion of the process of ludification that is penetrating every cultural domain.³ In our present experience economy, for example, playfulness not only characterizes leisure time (fun shopping, game shows on television, amusement parks, playful computer and Internet use), but also domains that used to be serious, such as work (which should chiefly be fun nowadays), education (serious gaming), poli­tics (ludic campaigning) and even warfare (video games like war simulators and interfaces). According to Jeremy Rifkin, “play is becoming as important in the cultural economy as work was in the industrial economy”.⁴ In ludic culture, sociologist Zygmunt Bauman argues, playfulness is no longer restricted to child­hood, but has become a lifelong attitude: “The mark of postmodern adulthood is the willingness to embrace the game whole-heartedly.”⁵ Bauman’s remark sug­gests that in postmodern culture identity has become a playful phenomenon too.In this article we want to re-visit Johan Huizinga’s Homo ludens (1938) to reflect on the meaning of ludic technologies in contemporary culture. First we will analyze the concept of “play”. Next, we will discuss some problematic aspects of Huizinga’s theory, which are connected with the fundamental ambigu­ities that characterize play phenomena, and reformulate some of getting viagra the basic ideas of Huizinga. On the basis of this reformulation we will analyze the ludic dimen­sion of new media and sketch an outline of our theory of ludic identity construc­tion.

Jos de Mul, Kunstmatig van nature. Onderweg naar Homo sapiens 3.0. Essay Maand van de Filosofie. Rotterdam: Lemiscaat, 2014.

In Kunstmatig van nature bespreekt Jos de Mul de betekenis van recente ontwikkelingen in de robotica, neurowetenschappen en biotechnologie voor ons zelfbegrip en dagelijks leven. Wat te denken van de Japanse humanoïde robot Miim, ontworpen door Kazuhito Yokoi, die kan dansen, zingen en kleding showen op de catwalk? Zullen dergelijke robots dankzij erotische programmatuur, net als in de sciencefiction-serie Real Humans, een commercieel succes worden? Of neem het experiment van de Amerikaanse neurowetenschapper Miguel Nicolelis die elektroden in de hersenen van een resusaapje heeft aangebracht om de neuronenactiviteit tijdens zijn bewegingen te registeren. De aldus verkregen informatie brengt via het internet elders in de wereld de robot CB-1 in beweging. Een kleine stap voor de robot, maar een gigantische sprong voor het aapje -- en mogelijk in de nabije toekomst ook voor dwarslaesiepatiënten.

Op biotechnologisch gebied heeft men alternatieven ontwikkeld voor het DNA, het ‘bouwplan’ van al het leven. Terwijl de evolutie ooit bestond uit natuurlijke selectie, betreden we met deze alien genetics het tijdperk van kunstmatige selectie. Mogen we hiermee planten, dieren en mensen ‘verbeteren’? Deze nieuwe technologieën vergroten niet alleen onze kennis van het leven op aarde -- ze zijn allang begonnen dat leven fundamenteel te transformeren. Wie we zijn en wat we willen worden, is meer dan ooit een open vraag, een opgave. Zijn wij, ‘de eeuwig toekomstigen’ volgens Nietzsche, onderweg naar Homo sapiens 3.0?
 

‘Worden wij de eerste soort op aarde die zijn eigen evolutionaire opvolger gaat scheppen?’ -- Jos de Mul
 

‘Grote eruditie en lucide kijk op veranderingen in de hedendaagse cultuur.’ -- Marc Van den Bossche over Cyberspace Odyssee in Standaard der Letteren
 

‘Gloedvol pleidooi voor een tragisch levensbesef.’ -- Arnold Heumakers over De domesticatie van het noodlot in nrc Handelsblad  

Uitgeverij Lemniscaat & Stichting Maand van de Filosofie | Omslagbeeld uit sf-serie Real Humans Omslagontwerp: Marc Suvaal | Pb. 180 pagina’s  | isbn 978 90 477 0631 1  | Verschijnt 15 maart 2014