Aesthetic Vision Research Articles

Pixar and the Aesthetic Imagination: Animation, Storytelling, Digital CultureEricHerhuth. University of California Press, 2020.

Pixar and the Aesthetic Imagination: Animation, Storytelling, Digital CultureEricHerhuth. University of California Press, 2020.

INTEGRATIVE RELATIONSHIP BETWEEN ENVIRONMENTAL ARCHITECTURE AND INTERIOR DESIGN TOWARDS SUSTAINABILITY

Sustainable design is a global trend that concerns governments and international organizations interested in preserving the environment and its natural resources. The research is intended to clarify the concept of sustainability and its role in architecture and interior design and how to create integration and harmony between interior architecture, outdoor and the environment. Therefore, the design process requires from the designer to balance between the values of the technical formation and the aesthetic, so the extent of the relationship to the environment and it’s Integration with it. The designer must take advantage of environmental characteristics to integrate functional and aesthetic visions to create flexible designs to achieve harmony and unity between interior architecture and environmental vocabulary. The important issue is the integration of technological and ecological sciences to minimize the negative impacts on the environment to achieve the integrative relationship between environmental architecture and interior design towards sustainability. The research addresses the concepts and principles of sustainability of the integrative relationship between environmental architecture and interior design, to emphasize the importance of inspiration from the local environment and traditional architecture to link the benefits of environmental, economic and innovative applications concepts of sustainable and green architecture, for employing them in modern buildings and meet the needs of the adapts to the current era by uses scientific and technological progress in the construction and interior and outdoor design of architecture compatible with the environment.

A new conceptualization of the nurse-patient relationship construct as caring interaction.

The journey through the history of nursing, and its philosophical and political influences of the moment, contextualizes the interest that arose about the nurse-patient relationship after World War II. The concept has always been defined as a relationship but, from a phenomenological approach based on a historical, philosophical, psychological and sociological cosmology, it is possible to re-conceptualize it as 'caring interaction'. Under the vision of aesthetics and sociopoetics, the object of nursing care is the most delicate, vulnerable and unrepeatable raw material: the person, whose feelings and reciprocity, which must be considered. In addition, it involves the adoption of the socio-critical paradigm, as it considers the importance of actively involving the person, not just patient anymore, or their family in the nursing cares, optimizing the reciprocity inherent to this interactivity. In short, our philosophical and epistemological approach to the concept of nurse-patient relationship proposes a new conceptualization of it as a caring interaction.

Freedom Made Manifest: Rahner's Fundamental Option and Theological Aesthetics, Peter JosephFritz, The Catholic University of America Press, 2019 (ISBN 978‐0‐8132‐3119‐8), xx + 278 pp., hb $65

Freedom Made Manifest: Rahner's Fundamental Option and Theological Aesthetics, Peter JosephFritz, The Catholic University of America Press, 2019 (ISBN 978‐0‐8132‐3119‐8), xx + 278 pp., hb $65

The genre of ballet portrait in the historical and cultural heritage of artists "Art World"

The author focuses on the features of the artistic embodiment of the actor’s images, based on the creative concept and aesthetic vision of a particular artist, a member of the Creative Union of the World of Art. The article reveals the innovative use of the retrospection technique in their work, highlights the main elements of genre modification. The study is based on the material of individual groups of images belonging to different artists, but formed according to a similar typology, thus, the urgent need for a closer and more versatile view of the theater portrait as one of the key forms in the genre system of the period under consideration becomes obvious. A system analysis of the genre is used, studying the set of artistic tools that artists use to most adequately implement their ideas. An analysis of the main components of the artistic structure reveals the genre features of the ballet portrait as an important vector of the individual search for artists of the “World of Art” association.

Urban Art Practices in the Vision of Projective Aesthetics

Modern urban art practices (public art, street art, flash mob, performance, etc.), are engaged in a radical aesthetic transformation of everyday life. The problem of projective aesthetics is taken as a variant of the praxis of modern aesthetics. Projective aesthetics suggests that one should mark out art projects which are created in the real aesthetic experience and which represent topical cultural issues in daily human life. Being the subject of projective aesthetics, the main examples of that kind are the projects of actual art in the urban environment. It is a group of artifacts at the border of art and everyday life that is called urban art practices. This article is devoted to the study of the features and possibilities of projective aesthetics in relation to contemporary urban art. Interacting with the developing practical aesthetics – environmental and urbanistic – the projective aesthetics allows us to include in the philosophical discourse the urban culture where actual art practices work. In the relations between urban art and projective aesthetics a special place is given to the idea and practice of potentiations (Epstein’s concept). According to this concept, the potential of the contemporary city is revealed by means of art for creating a polylogue for intertwining various aspects and forms of city life and for developing a rhizome of urban culture. City art practices, being a phenomenon of everyday life, represent in a single image all aspects of everyday life – from political, ethnic, national, and regional to aesthetic and artistic meanings. Article received: April 25, 2020; Article accepted: June 30, 2020; Published online: September 15, 2020; Review article

WONDER: FROM POETICS TO POLITICS

ABSTRACTMarnie Hughes‐Warrington's book, History as Wonder: Beginning with Historiography, invites readers to reconsider the power of wonder as a critical concept whose theoretical implications go far beyond its evident ability to inspire historical research. Wonder is supposedly a neutral weapon for historians, one that is limited to promoting incessant curiosity about the past. Attempting to move from a poetic and aesthetic vision of wonder to a consideration of the concept's ethical and political uses, Hughes‐Warrington claims that “historians since Herodotus have engaged with or responded to the efforts of thinkers who attempt to make general sense of the world, metaphysicians” (xii). In what follows, I challenge Hughes‐Warrington's approach by emphasizing and exploring the epistemological questions History as Wonder raises about who holds the power to establish a conventional sense of the world and to what extent historical research may offer general explanations of the world without succumbing to precritical assumptions or metahistorical reductionisms.

Una exposición invisible:"Publicitarios entre el arte y el diseño". Segunda Parte: descripción y balance

El artículo plantea la paradójica situación de una exposición cuyo fracaso puede consistir en que no se vea lo que se pretende por interposición de una forma de mirar estandarizada que hace invisible la lectura propuesta. El problema puede no ser exclusivo de un sector como el diseño, sino pandémico. Se intenta explicar por su dependencia de la estetización de la sociedad, propia de la situación llamada postmoderna, en la que la omisión del sentido histórico pervierte de manera ideológica el lenguaje, incluso, o sobre todo, el de la visión. La percepción original se ha transformado en visión estética, según la ideología de la una sociedad del ocio y de la emoción, que ha impuesto su hegemonía. La visión estética del mundo convierte en simulacro y espectáculo (estéticos) toda propuesta de lectura razonada.

1980 Imagination: aesthetic and religious

The philosopher Mary Warnock (1924–2019) first delivered this article in 1980 as an Oxford University sermon when she was a fellow at St Hugh’s College. In it she links aesthetic imagination to her understanding of the Christian ‘story’. For her, ‘no sharp line can be drawn between imagination employed in the religious mode and the aesthetic imagination’. As a philosopher she was an expert on existentialism and, later, medical ethics. She was also a communicant Anglican churchgoer, but she seldom wrote directly about Christian faith, so this article is particularly significant. Editor.

El Madrid invisible de Zúñiga: un trayecto

La ciudad de Madrid es el denominador común de la trilogía de cuentos de la Guerra Civil de Juan Eduardo Zúñiga. El tratamiento del espacio literario resume la potencialidad simbólica del realismo del autor, además de su visión ética y estética del mundo y del hecho literario. Las fuentes de esa elaboración artística de la ciudad pueden hallarse en escritores rusos y en el Simbolismo, más que en los cronistas locales. Se propone el análisis del cuento "Ruinas, el trayecto: Guerda Taro" como modelo de un estudio más amplio que establecería la carta completa del Madrid de Zúñiga. El cuento es un ejemplo de que la topografía que recorre los relatos traza “una historia invisible de la ciudad” y de que en él se reelaboran tópicos clásicos como el “ut pictura poesis” o la poesía de ruinas, que sustentan toda una poética. Con su papel de protagonista del ciclo, Madrid dota al conjunto de una unidad estructural, es el referente de la dimensión simbólica del tiempo y su historicidad encierra una visión crítica. Por tanto, la filiación genérica de la trilogía depende de esa naturaleza compleja de la ciudad como cronotopo. A la luz de estas conclusiones y de la historia textual de la primera edición crítica de la trilogía, se actualiza la cuestión de su género, que la bibliografía ha intentado clasificar como “ciclos de cuentos”, como “cuentarios” o como formas “paranovelísticas”.

'Moral Imagination' in Dance and 'Aesthetic Imagination' in Morality

'Moral Imagination' in Dance and 'Aesthetic Imagination' in Morality

Runaway beauty as a cultural reality and empatic experience

The aesthetic foundations of culture are in the constant focus not only of humanitarian knowledge, but also serve as an actual subject of interdisciplinary research. The article argues the view of beauty as an imperative of culture and the experience of aestheticе trial. Beauty understanding is not shown to consist of the punctual detailing of beauty. The beauty of the object is higher than the object itself the beauty is a specific cultural phenomenon. Gaining the freedom through the beauty, a person restores his lost connection with nature and expands the boundaries of his being, his desires and opportunities. In beauty, the world is filled with meaning and assembled in harmony. Beauty has always remained a desirable, but elusive phenomenon for a person. In the aesthetic imagination of the drama of being, human nature finds the ability to overcome unbearable pain from its anthropological insufficiency and ontological alienation from the world that surrounds it and which it creates.

"A World Against Itself": The Dynamics of Good Nature and Virtue in Henry Fielding's Plays

In the eighteenth-century England, the aesthetic vision of most contemporary writers of the time was closely related to the social, political and religious system of belief. Augustan writers, satirists particularly, sought to reclaim for literature the morally privileged status, they thought, it supposedly held in the context of the Latitudinarian system of thought; the very rationale behind the ethic of good nature that distinguishes major writings of the time, namely the dramatic, journalistic and fictional works of the major eighteenth century novelist and satirist Henry Fielding. His major dramatic works not only display the influence of the Latitudinarian philosophy but mainly Shaftesbury’s moral theory of innate goodness, which Fielding revokes, offering then a representation of a more universal moral frame which rather reflects and criticizes the society of the author’s time. The providential pattern that Fielding creates in his plays valorizes indeed the principle of good-nature and the triumph of virtue against all apparent social evils. Most significantly, it has positioned Henry Fielding himself in a “comedic” tradition in which characters are not ultimately responsible for themselves. In the present paper, and with reference to Earl of Shaftesbury’s assumptions about the ideal good-natured man, I intend to evince that Fielding uses the value of good-nature and virtue not as pure moral abstractions, but rather as nodal points around which he organizes, and through which he presents a broad cultural and historical vision. With reference to his major regular comedies, and a through a close study of his most representative characters, I will attempt to evince that this underlying moral vision is more than an abstract rumination of the relative power of good and evil. When we view and consider such concepts as virtue, good-nature and ill-nature in the immediate contexts of his plays, we conceive a picture of a broad cultural landscape in which ethical values become nodal points of meaning, in which Fielding represents both the most basic, traditional values and the most sordid everyday events and attitudes of his society.

Biblioterapia w procesie rehabilitacji

This article presents bibliotherapy, its roots and therapeutic indications. It can be used by anyone who needs support. Book therapy is one of the little-known but indispensable methods of therapy. A method known for a long time and bringing significant results in the hands of an experienced bibliotherapist. In therapy, he does not need expensive equipment, but only properly selected literature. Reading develops aesthetic sensitivity, shapes imagination and creative attitude, affects intellectual development, which allows you to open to the values that the book brings. The literature provides information about the outside world, social acceptance, and behavioral patterns. Book therapy develops emotionally. We experience the fate of the characters, we identify with them, which satisfies the needs of behavioral patterns and a sense of social bond. Regardless of age, bibliotherapy increases the reader’s moral sensitivity. Jakubowicz et al. emphasize the benefits of reading books. The level of speech development is increasing, the vocabulary, thinking, expanding news about the world, about our own country, teaching us about society, cultures and history. Book therapy adds strength and enthusiasm to overcome difficulties. It makes you think about what is right and what is not, what is good and what is bad.

Una exposición invisible: "Publicidad entre el arte y el diseño". Primera Parte: el marco y las historias

El artículo plantea la paradójica situación de una exposición cuyo fracaso puede consistir en que no se vea lo que se pretende por interposición de una forma de mirar estandarizada que hace invisible la lectura propuesta. El problema puede no ser exclusivo de un sector como el diseño, sino pandémico. Se intenta explicar por su dependencia de la estetización de la sociedad, propia de la situación llamada postmoderna, en la que la omisión del sentido histórico pervierte de manera ideológica el lenguaje, incluso, o sobre todo, el de la visión. La percepción original se ha transformado en visión estética, según la ideología de la una sociedad del ocio y de la emoción, que ha impuesto su hegemonía. La visión estética del mundo convierte en simulacro y espectáculo (estéticos) toda propuesta de lectura razonada.

Vladimir Nabokov and the Ideological Aesthetic: A Study of His Novels and Plays, 1926–1939 by Dematagoda Udith (review)

SEER, 98, 1, JANUARY 2020 162 Dematagoda, Udith. Vladimir Nabokov and the Ideological Aesthetic: A Study of His Novels and Plays, 1926–1939. Cultural History and Literary Imagination, 29. Peter Lang, Oxford, New York and Vienna, 2017. xii + 203 pp. Notes. Bibliography. Index. €51.90: £42.00: $63.95 (paperback). Vladimir Nabokov and the Ideological Aesthetic is a slim volume packedwithstatementsthatresistmostconventionsofcontemporaryNabokov scholarship. Its author, Udith Dematagoda, whose research converges around such topics as ‘ideology and aesthetics in the context of twentieth-century modernist English and European literature, masculinity and fascism’, explores the evolution of Nabokov’s ideas on art, politics, totalitarianism and social responsibility in the two decades preceding World War Two, from the year when Mary was published to the completion of The Gift. Brisk and provocative, his analysis resists not only the writer’s own professed opposition to civic engagement in literature and to art’s political intent, but also what Dematagoda sees as modern Nabokovians’ fallibility — their upholding ‘the idea of Nabokov being a novelist of serious moral fiction’ (p. 116). The outcome of this study, which includes a sweeping chapter on drama (The Man from the USSR and The Waltz Invention) and three more detailed chapterlong explorations of The Eye, Despair, Invitation to a Beheading and The Gift, is a position that considers Nabokov’s ‘uncompromising insistence on individualism […] antithetical to the egalitarian tenets of liberalism which Nabokov supposedly adhered to’ (p. 186). Dematagoda is not alone in his insistence on Nabokov’s adherence to an ideological viewpoint ripe with artistic and political consequences — Dana Dragunoiu, Galya Diment, Maxim Shrayer, Julian W. Connolly, and others, have convincingly established this commitment. The originality of his work lies in his showing that Nabokov’s aesthetics was the foundation and dialectical refraction of his ideology as well as in demonstrating how the writer’s ideological views changed over time (p. 42). Dematagoda challenges the widespread understanding that Nabokov’s aesthetics was steeped in ideas of Symbolism; makes a valuable point about the writer’s dictatorial tendencies when suggesting, in his reflections on Nabokov the dramatist, that ‘his own aesthetic vision’ placed ‘emphasis on the tyrannical will of the individual artist’ (p. 53); and engages his readers in a stimulating exploration of Invitation to a Beheading as Nabokov’s response to the First Writer’s Congress, Gor´kii’s postulates about the civic value of Socialist Realism, and Chernyshevskii’s ideas as the basis for the Bolshevik discourse on literature and its social function (pp. 110–21). Many of Dematagoda’s insights into Nabokov’s prose and dramaturgy are insightful and merit the readers’ attention. That said, the conclusions REVIEWS 163 Dematagoda draws from his construal of other Nabokov works, especially the plays, The Eye and Despair, appear unsubstantiated and driven by the critic’s own theoretical agenda. For example, Dematagoda’s claim that The Waltz Invention is ‘a sublimation of Nabokov’s own megalomaniac fantasy’ (pp. 45, 46) is corroborated by little more than an insistence that Nabokovian ‘instances of denial’ (in this case, of the play’s ‘topical import’) ‘are never so strident than when there is something important to conceal’ (p. 46). In a similar vein, Dematagoda’s analysis of Hermann Karlovich’s leftist sympathies as ‘caricatures’ that reveal ‘a very naïve understanding of Marxism on Nabokov’s part’ (p. 82) is grounded in a confused perception of Nabokov’s rejection of Marxism as an ontology, rather than a system of ideas that gave rise to Bolshevism, with its disregard for human rights, the uniqueness of every individual and freedom of artistic self-expression. (Nabokov, Dematagoda says, ‘seeks to mock Marxism for what he views to be its reductive and absurd interpretation of the material world’, p. 85.) This confusion may be grounded in Dematagoda’s most challenging, but also not fully proven, proposition that Nabokov’s rejection of Symbolism in the 1920s–30s was ‘perhaps also due to the similarities he perceived between Symbolist epistemology and other, putatively more rational, epistemological systems such as Freudian psychoanalysis, or even Marxism’ (p. 74). The main controversy of this work lies in Dematagoda’s seeing other researchers’ interpretations of Nabokov the writer and thinker as ‘overly generous’ and...

“When things are bad”: Entrepreneurial Failure and Levinasian Ethics in Quiara Alegría Hudes’s Water by the Spoonful

The broad aim of this article is to argue that entrepreneurial failure constitutes a rich site for inquiry into the pressures of capitalist modernity and the aesthetic visions that have emerged in opposition to it. More specifically, it contends that Quiara Alegría Hudes’s play Water by the Spoonful illuminates the violence of neoliberal dispossession through its cast of characters who can be read as failed entrepreneurial subjects. If neoliberal reason views individuals as self-appreciating entrepreneurs, the play suggests that entrepreneurial self-extension is a broken form of living. To examine the play’s treatment of failure, this article draws on Emmanuel Levi-nas’s philosophy of ethics, arguing that the play displays an ethico- political commitment to the future, one in which collective living would supplant the egoistic pursuits abetted by neoliberal reason.

Miyazakiworld: A Life in Art by Susan Napier

Reviewed by: Miyazakiworld: A Life in Art by Susan Napier Mihaela Mihailova Miyazakiworld: A Life in Art. By Susan Napier. Yale University Press, 2018. 344 pages. Hardcover, $30.00; softcover, $20.00. Miyazaki Hayao, arguably the most celebrated living anime master, has publicly announced his retirement from making feature films on several occasions over the [End Page 191] years, only to return to work every single time. His latest such withdrawal (as of now) inspired a Japanese television documentary, the aptly titled Never-Ending Man: Hayao Miyazaki (directed by Arakawa Kaku, 2016). The Kingdom of Dreams and Madness (2013), a behind-the-scenes documentary on his company, Studio Ghibli, also featured Miyazaki very prominently. These productions reflect two core aspects of Miyazaki's oeuvre and its global reception: his work has been extensively documented, usually with the active participation and indeed content curation of Ghibli itself, yet it continues to generate widespread interest and further scrutiny. Susan Napier's Miyazakiworld: A Life in Art is not the first English-language book-length survey of the director's career. In the prologue, Napier acknowledges the impact of Helen McCarthy's Hayao Miyazaki: Master of Japanese Animation (Berkeley: Stone Bridge Press, 1999), which laid the groundwork for this type of study twenty years ago. Napier's is not even the only Anglophone volume dedicated to Miyazaki to come out in 2018: as its title suggests, Raz Greenberg's Hayao Miyazaki: Exploring the Early Work of Japan's Greatest Animator offers an in-depth analysis of the director's earliest projects in both film and television, alongside the works of global art and literature that inspired him and shaped his style. Rayna Denison's edited volume Princess Mononoke: Understanding Studio Ghibli's Monster Princess, also published in 2018 as part of the same Animation: Key Films/Filmmakers series from Bloomsbury Academic, features an impressively broad range of essays on Miyazaki's epic fantasy film. Finding itself in the company of these two excellent studies, Miyazakiworld nevertheless makes a distinct contribution to the literature. As signaled by the phrase "a life in art," the challenging goal of this volume is to not only examine the director's personal biography and artistic oeuvre alongside each other, but also actively place the two in dialogue. Reading Miyazaki's art through his life and, conversely, finding traces of his art scattered across his personal interactions and views, Napier has crafted a hybrid study that weaves biography, film analysis, historical context, and industry discourse into a rich, sometimes contradictory, but always fascinating tapestry. While compiling a survey of such a multifaceted, long, and indeed apparently neverending creative career is a rather ambitious undertaking, Napier is a well-known anime scholar who has published on Miyazaki before, including in her book Anime from Akira to Princess Mononoke (New York: Palgrave Macmillan, 2001)1 and a chapter on Studio Ghibli in Christopher Holliday and Alexander Sergeant's edited collection Fantasy/Animation: Connections Between Media, Mediums and Genres (Routledge, 2018). She is also, by her own proud admission, a Miyazaki fan, and her admiration for his work shines through strongly and infectiously. The product of eight years' worth of labor, the book under review is a chronologically organized volume that guides the reader through Miyazaki's entire creative path, starting with his family background and concluding with a poignant 2014 interview with the director. With palpable archival zeal and scholarly attention to detail, Napier takes a deep dive into Miyazaki's past, unearthing the key events (both in his personal life [End Page 192] and the broader history of Japan in the twentieth and twenty-first centuries) that have molded his aesthetic vision, inspired many of his memorable characters, and determined the thematic trajectories of his oeuvre, including his commitment to environmentalism, his apocalyptic narratives, and what she calls his "utopian impulses" (p. 14). As early as the second page of the prologue, Napier declares her intent for the volume: to demonstrate that an animation director "can really be an auteur" through a close reading of what she terms Miyazakiworld, "the immersive animated realm that varies delightfully from film to film but is always marked by the director's unique imagination...

Romanticism, Hellenism, and the Philosophy of Nature by William S. Davis

Reviewed by: Romanticism, Hellenism, and the Philosophy of Nature by William S. Davis Christopher R. Clason William S. Davis. Romanticism, Hellenism, and the Philosophy of Nature. Basingstoke: Palgrave Macmillan, 2018. 156 pp. Late eighteenth- and early nineteenth-century European philosophical trajectories were dramatically shifted by the epistemologies of Kant and Fichte. Furthermore, these epistemologies placed the very objects that human subjects experience in a gravely problematic relationship, where it seemed that the essential object could not be known directly, or it would have to be subsumed into a subjectivism that many found difficult to swallow—especially (and most tragically) Kleist, but others as well. Davis's book offers an engagingly readable account of how several of the main figures of literature and philosophy confronted the problem head-on, beginning with the early friendship of Schelling, Hölderlin, and Hegel, progressing through Goethe to the British Romantics Shelley and Byron, and then returning to Hölderlin, all with an eye on how the contemporary world of letters and philosophy valued the ancient Greeks, and how their reception of classical thought aided them in coming to terms with the contemporary abstract view of the aesthetic object in the physical world. In the "Introduction," Davis presents a basic problem endemic to Romantic philosophy, especially the "Ich-Philosophie" of Fichte and his followers. Quoting Frederick Beiser regarding a key issue concerning subjectivity, he illustrates how among the early Romantics there arose a fear that a perceiving subject has no knowledge "beyond its own circle of consciousness." As one possible way through the subjectivity conundrum, several early Romantic philosophers (e.g., Hölderlin, Goethe, Percy Shelley, and Schelling) attempt to find a discursive strategy, by employing literary metaphors of "a restorative unity that lies beyond the subject." Davis suggests that for these writers the solution does not rest in a philosophical-epistemological paradigm, but rather in an artistic one, in an act of the aesthetic imagination, informed by the philosophy of nature and Romantic Hellenism, both of which are inextricably connected. He seizes on an aspect of philosophy according to Schelling, that natural objects are not merely dead things, but are "living potentialities," and "vibrant objects." In the first chapter, Davis presents a scene in which Hyperion, the hero of Hölderlin's eponymous novel, stands atop the Acrocorinth and ponders how division constitutes human self-consciousness, while he contemplates (in a distracted state of mind, which Hyperion describes as being "lost in the wide blue") how one might achieve a merging of the self with the all. Davis then explores what Hölderlin meant by "intellectual intuition" in reclaiming the original unity (the elusive "one with all") that he and a host of other Romantics sought; instrumental in forming this idea was his participation in a secret philosophical club formed by the three fellow students at the Tübinger Stift (with Schelling and Hegel), whose Greek motto "Hen Kai Pan" (one and everything) gave direction to their early thought. Next, Davis guides us through aspects of Schelling's Naturphilosophie and its connections with Goethe's own neoclassical aesthetics, set against the background of the personal and intellectual relationship between the two. Most importantly, Davis highlights the catalytic function each served for the other's thinking regarding the Weltseele (world-soul), which, they believed, inhabits and animates the entire cosmos. In the fourth chapter, which focuses on aesthetic and erotic intuition, Davis shifts to more material concerns. Here he elaborates the literary response to Schelling's realization that the return to wholeness and oneness cannot merely be an intellectual exercise, but must be concretized in order to be truly [End Page 358] successful. The aesthetic object must become substantial and physical, which can only be accomplished through art imbued with elements of the erotic, amounting to a return to the Hellenistic ideal of the lost classical age. As a summary of this process, Davis compares Hölderlin's Hyperion with a scene from Percy Shelley's Epipsychidion, against the backdrop of the space delimited in the two works: Greek islands on which one experiences a conjoining of "poetry, nature philosophy, aesthetics, and sex," a conversion of intellectual intuition into aesthetic-erotic intuition. He maintains that...

PLASTIC VISION FOR TEACHING METAL WORKS

The contemporary art education programs are specially designed to cope with the rapid educational and technological changes in the developed societies. Therefore, they have been able to cope with this educational change by providing them with the skills and techniques that will help to perform more sophisticated artistic works. Metal works are one of the applied fields of art education, which aims to contribute with other fields of art education in the preparation of the intellectual student who is creative behaviour, and this necessarily requires the continuation of training and self-discovery methods of formation necessary for the production of art to have a balance of experience and knowledge and aesthetic vision that Aims to increase the level of intellectual and plastic performance as well as prepare it to face the labour market.