Human Archetypes Research Articles

THE PHILOSOPHICAL ISSUES IN THE CONCEPT OF “PROFIL PELAJAR PANCASILA”

This research aims to identify and elaborate on the philosophical issues inherent in the concept of the Profil Pelajar Pancasila (Pancasila Student Profile) as the epitome of human idealism in Pancasila intended for implementation through educational means in Indonesia. This matter holds significance for examination due to the Pancasila Student Profile serving as the ultimate destination or objective of the complete educational system in Indonesia. Philosophical scrutiny of this concept is imperative to ensure alignment between the Pancasila Student Profile and the notion of the Indonesian ideal individual in line with Pancasila’s principles. This investigation adopts a qualitative method to delve into philosophical quandaries within this domain. The data utilized in this research comprises literary works addressing the Pancasila Student Profile, which are then philosophically scrutinized based on four key attributes: radical, critical, systematic, and comprehensive. The findings of this study reveal a philosophical dilemma within the Pancasila Student concept, specifically the underrepresentation of two vital dimensions of human nature in Pancasila, namely materiality and individuality. Consequently, it is recommended that a reassessment and restructuring of the Pancasila Student Profile concept be undertaken to ensure the realization of the ideal human archetype of Pancasila without straying from the educational objectives outlined in Law No. 20 of 2003 regarding the National Education System.

The influence of the Past and the Present in Eugene O'Neill's Long Day's Journey Into Night and Tennessee Williams' A Streetcar Named Desire

The most American writers who tackle the theme of past and present in their works are Eugene O'Neill and Tennessee Williams. This paper attempts to analyze the theme of past and present in O'Neill's Long Day's Journey Into Night and Williams' A streetcar Named Desire. They have presented their tragic theory of the relationship between the characters' tragic downfall and the power of the unconscious self or their psychological mental fate. They have used memory as a recurrent motif in their major plays. The aim of this paper is to analyze memory that symbolizes the past and its impact on the present in the two selected plays. The major characters are shown through memory as they feel haunted with the restraints of past, which casts shadow on their present condition. As the human archetypes live under unfavorable conditions whether they are political, social, or economic, they cover their harsh realities with memory of the beautiful past.

Vertical Farm: from Agriculture to a New City Architecture

The paper deals with the architectural theme of high-rise construction by cross-referencing it with that of soilless agriculture, recognizing new typologies and critically identifying the strengths and weaknesses of a new relationship between architecture, city and agriculture. From a disciplinary point of view, the text is organized in four distinct topics. The first part deals with height construction from a theoretical and disciplinary point of view. An excursus identifies in the high-rise buildings a human archetype that today defines certain features of architecture and landscapes in the age of globalization. The second part delves into the subject of soilless agriculture in terms of agronomic technique, with the aim of understanding its origin, efficiency and potential, but also its limits and weaknesses. The analysis is carried out by investigating the production factors at play, such as land, labor and capital, in relation to the revolutions that have characterized the agricultural production sector since the 16th century. The third part analyses three different cases of vertical farms from an architectural perspective because they are alternative to each other and paradigmatic. The skyscraper model is transformed. Agricultural activity, housing models and aggregated urban functions give rise to complex buildings. The first case is Richard Rogers' 2015 Skyfarm, the second is Carlo Ratti's Jian Mu Tower designed in Shenzen in 2021, the third example is Chris Precht's 2019 Farmhouse. The last part addresses a broader picture: food, cities, social justice, but also urban regeneration, recovery and recycling. Vertical farms are observed from an urban planning angle and considered as a useful element for guiding development and growth in cities and rewriting the relationship between architecture and the countryside. An opportunity to reinvent the multifunctional tall building, open to new ways of living and to redefine the design of the city

Analysis on the Goddess Culture of Human Archetype through the Jeju Creation Myth

Analysis on the Goddess Culture of Human Archetype through the Jeju Creation Myth

Del pecado como símbolo racional entre Pelagio y Agustín según Paul Ricoeur

Focusing on sin in Pelagius as a possibility of exercising freedom and individual responsibility, this paper points out the defense of neutrality, involving the creation of the human being and his capacity for good and evil, emphasizing the freedom of will and its absolute indeterminacy, linking sin to choice. Therefore, by attributing the condition of locus of the establishment of the existential ethical-logical experience, involving the exercise of freedom, to will, Pelagius opposes the thesis of original sin as a psycho-biological, intellect-affective, and volitional-consciential inheritance transmitted by the human archetype in Adam for his offsprings. Thus, pointing to will as the cause of sin in a movement that converges to end its imputation to the agent as a holder of will in exercise, the text shows that Augustine paradoxically affirms the human tendency to practice evil as a result of Adamic inheritance, which imposes on its posterity the condition of absolute depravity and inescapable guilt, insofar as the human being is constituted as such in a state of holy innocence in a process that attributes to sin the condition of a product of human choice through the exercise of their freedom and full conscience. Finally, the paper examines sin as a rational symbol between Pelagius and Augustine, according to Paul Ricoeur, who affirms the need for a process able to deconstruct the concept due to the emergence of the orthodox intention as a straight and ecclesial meaning.

MEMORY AND OBLIVION: TANGIBLE IMAGES AND UTOPIA

The thesis of W. Benjamin on the concept of History echoes as almost an anti-postmodernism manifesto: the approach to the past is structured through images, not narratives. Indeed, in the tension between history (the universal past rooted in agreed replicable methodologies for a human archetype) and memory (the ego or sociocentric past rooted in individual experiences), egos design narratives and try to fit evidence into them, whereas the historical past is constantly reconstructed through zooming in details that generate new images. The image in history, as the mental image in individuals, is not a layer of arrival, nor even a point of departure, but a vehicle of transformation of how space is perceived (as Kant argued) or constructed (following Bachelard), the phenomenological process of performing tasks in space being the driver of such construction (as argued by Ingold). The design of history through images is, in this sense, the process of social construction of cultural landscapes, i.e., of the poetics of space. This is a process that encompasses four mechanisms of change: identification (based on senses and, primarily, on touch and sound), adaptation (the Kantian perception of the space as the scenario of human aptitude), transformation (the poetics of the making, creating new landscapes by changing their core images) and method (namely the dialectics of tangible and intangible dimensions). The tension between image and narrative is, ultimately, the root of the tension between ego/socio-centered memories and the anthropic-rational history. In such a process, history builds from memories, by overcoming their narratives and preserving basic units of information that may be recombined, to create novel images of the past, but also of the present and the future. In such a process, history considers memory oblivion and an indicator of reliability or not of those memories. In this paper we discuss how material culture is the backbone of mental images and why it has a much more plastic and transformative nature than intangible narratives, which are expressions of the consolidation (and conservation) of understandings. The keyword in such a memory process is oblivion: images allow us to forget fossil narratives and to move into new utopias.

The Emergent Power of Human Cellular vs Mouse Models in Translational Hair Research

Different animal models have been used for hair research and regeneration studies based on the similarities between animal and human skins. Primary knowledge on hair follicle (HF) biology has arisen from research using mouse models baring spontaneous or genetically engineered mutations. These studies have been crucial for the discovery of genes underlying human hair cycle control and hair loss disorders. Yet, researchers have become increasingly aware that there are distinct architectural and cellular features between the mouse and human HFs, which might limit the translation of findings in the mouse models. Thus, it is enticing to reason that the spotlight on mouse models and the unwillingness to adapt to the human archetype have been hampering the emergence of the long-awaited human hair loss cure. Here, we provide an overview of the major limitations of the mainstream mouse models for human hair loss research, and we underpin a future course of action using human cell bioengineered models and the emergent artificial intelligence.

융의 인간원형을 통한 상징적 삶의 구현 :이성대의 수필집 『한 살이 된 어른 아이』를 중심으로

Carl Gustav Jung is the founder of analytical psychology, who expressed an intensive interest in the process of human restoration. The purpose of this study is to analyze Lee Seong-dae’s essay, which reveals wisdom through exploration of human nature and abundant life, based on Jung’s theory, which proposed a philosophical methodology for human beings to live a valuable life. This is because Jung’s theory, which made an effort to understand the human mental world more fundamentally, has a point of contact with the fundamental task of the essay, the exploration of humanity. Seongdae Lee’s collection of essays, 『A one-year-old adult child』 is a work that clearly reveals the attitude and will of life to recognize and realize Jung’s human archetype and live a symbolic life. Human archetype in each work gives a deep insight into the wisdom of life and suggests a way to live a rich and meaningful life. This can have something in common with Jung

L’empathie en réalité virtuelle comme posture d’auteur : Une étude québécoise

For certain authors, virtual reality (VR) is an effective media to gain user empathy, in part because of its immersive and interactive properties. How do VR work creators consider empathy? When they seek to stimulate empathy through their works, what mechanisms do they implement? Conversely, do they care little about it or do they reject it categorically? Is there a specifically Québécois use of empathy in virtual-reality creations? The analysis of Québec VR works undertaken to try and answer those questions confirms a definite interest towards empathy in VR, an interest encouraged by funding bodies. Furthermore, two trends can be noted: certain VR authors seek individualized empathy (relating to personal stories), while others pursue non-individualized empathy (relating to a group of people or a human archetype). Our study did not identify specific Québec characteristics for the use of empathy in VR, but does allow us to conclude that empathy in VR is an author’s choice, perhaps even creator posturing, with an ethical purpose.

ЕКСПЛІКАЦІЯ АРХЕТИПІВ І СИМВОЛІВ У СУЧАСНИХ УКРАЇНСЬКИХ ХУДОЖНІХ ФІЛЬМАХ

<p><strong><em>The purpose</em></strong><em> of the article is to explicate archetypes and symbols in modern Ukrainian historical films those were made during 2015–2021 term. As an object of research, we selected precisely those modern films of the historical genre, the titles of those are identical to the main character or characters names in the films. At the same time, the fact how real or pseudo-real the prototypes of the main characters of the films selected for analysis were, was not taken to consideration.</em></p><p><strong><em>Research methodology.</em></strong><em> The main general scientific methods that are used in this article are the analysis of literature on the issue under study (on the explication of archetypes and symbols and their use in modern Ukrainian feature films of the historical genre), description (of selected films according to the main criteria – release date, director’s name, screened work), comparative analysis (to clarify the similarities and differences between the archetype and the symbol and types of national archetypes), the method of explication (to clarify the essence of national types of archetypes). In addition, the article uses the following empirical methods: rolling sample (for the selection of relevant films) and content analysis with elements of qualitative analysis (to clarify the use of predominant national archetypes and symbols in the film as means of their implementation).</em></p><p><strong><em>Results.</em></strong><em> It is being explicated that the archetype and symbol are the key concepts of research, although they belong to different fields of study – subconscious, intangible and conscious, material, but complement to each other, expressing the archetypal-symbolic meaning of the message. Therefore, these concepts are not identical or interchangeable, but are closely related. It has also been suggested that national archetypes are based on universal human archetypes.</em></p><p><em>In modern Ukrainian feature films with the main character – a historical or pseudo-historical person</em><em> </em><em>– the following archetypes are clearly expressed: first, the archetype of the earth, which begins to form with the help of shots from the Ukrainian landscape proper and to generalize about Ukraine as a state as a whole; secondly, the archetype of a strong knight, which is overwhelmingly the main character of the film; thirdly, the archetype of freedom, which is created in the process of a knight's struggle for his native land.</em></p><p><strong><em>Novelty.</em></strong><em> It has been identified that in selected modern Ukrainian feature films of the historical genre, three national Ukrainian archetypes prevail – the archetype of the earth, the strong knight and freedom they are closely related.</em></p><p><strong><em>Practical significance.</em></strong><em> The results of the research can be used in writing screenplays and staging them, reviewing films, as well as in the educational process of specialty 021 </em><em>«</em><em>Audiovisual art and production</em><em>»</em><em> students.</em></p><p><strong><em>Key words:</em></strong><em> archetype, ethnocultural and national archetypes, symbol, explication, modern Ukrainian feature film, historical genre, archetype of earth, freedom and a strong knight.</em></p>

University Managerialism and Scientific Publication

The paper sets out a general approach to university Managerialism and its links with the scientific publication system. In an academic context, techniques and practices bearing on the management field include a specific view on why and how to publish, as well as what ends publication should serve. This work explores the discourse legitimising that view and reconstructs the behavioural and emotional human archetype it enshrines. The empirical materials used are the handbooks,guides and presentations targeting university staff with a view to boosting their publishing output. The paper ends with a critical assessment of the discourse and the archetype’s implications in semi-peripheral academic contexts in terms of the production of scientific knowledge.

JUNGIAN ARCHETYPES AND PATRIARCHAL PATTERNS IN WHEN NIETZSCHE WEPT

Archetypes, according to Jung are inborn personal unconscious, and this part of the psyche is truly not individual but ‘universal’ and in contrast to the personal psyche, it upholds specific contents and modes of behavior that are somewhat same for all individuals living or dead in different space and time zones. Literature is an essential tool for tracing human archetypes, the collective unconscious, and Yalom’s novel When Nietzsche Wept as a unique psychological study of fictional and well known historical figures provides the same. The paper investigates the strata of the character’s unconscious feelings of toned complexes of their psyche. However, the article also traces the contents of the collective unconscious as the inherent universal part of psychic life known as Archetypes present in the novel. Yalom’s When Nietzsche Wept as a fantastic tale of historical figures colliding into each other gives a chance to verify how certain archetypes are universal and even intellectuals and layperson without exception are beholders of such patterns.

Human Moral Becoming and the Surrealist Imagination: Saulius Tomas Kondrotas and Šarūnas Sauka

The author of this article interprets the surrealist narratives of Saulius Tomas Kondrotas and Šarūnas Sauka as signs of both a crumbling empire and the rebirth of human dignity in late Soviet-era literature and art. A sense of epochal shift provides a common background of allegorical narration in both Kondrotas’s and Saukas’s narratives, protecting them from flat politicising and encouraging us to read their work as an encounter between the human and the eternal.Countering Soviet values, Kondrotas and Sauka place the universal rebellion of the artist against an ideology that imprisons the individual at the core of their work, making it possible to draw a connection to the imagination of the medieval alchemist, as they too concentrate their attention on the search for God and the resulting visions-projections.Kondrotas’s and Saukas’s works are characterised by oniric, surrealist stylistics, an understanding of the world as a dangerous place, and the human-godlike-animal matrix. The end of the world, the collapse of foundational hierarchies of values, and a feeling of moral ambivalence are common to both, leading them to search for solutions in response to human moral decline. Kondrotas and Sauka both speak about human rebirth, one of the oldest of human archetypes and one central to the alchemical imagination.

The Ontology of Vision. The Invisible, Consciousness of Living Matter.

If I close my eyes, the absence of light activates the peripheral cells devoted to the perception of darkness. The awareness of “seeing oneself seeing” is in its essence a thought, one that is internal to the vision and previous to any object of sight. To this amphibious faculty, the “diaphanous color of darkness,” Aristotle assigns the principle of knowledge. “Vision is a whole perceptual system, not a channel of sense.” Functions of vision are interwoven with the texture of human interaction within a terrestrial environment that is in turn contained into the cosmic order. A transitive host within the resonance of an inner-outer environment, the human being is the contact-term between two orders of scale, both bigger and smaller than the individual unity. In the perceptual integrative system of human vision, the convergence-divergence of the corporeal presence and the diffraction of its own appearance is the margin. The sensation of being no longer coincides with the breath of life, it does not seems “real” without the trace of some visible evidence and its simultaneous “sharing”. Without a shadow, without an imprint, the numeric copia of the physical presence inhabits the transient memory of our electronic prostheses. A rudimentary “visuality” replaces tangible experience dissipating its meaning and the awareness of being alive. Transversal to the civilizations of the ancient world, through different orders of function and status, the anthropomorphic “figuration” of archaic sculpture addressees the margin between Being and Non-Being. Statuary human archetypes are not meant to be visible, but to exist as vehicles of transcendence to outlive the definition of human space-time. The awareness of individual finiteness seals the compulsion to “give body” to an invisible apparition shaping the figuration of an ontogenetic expression of human consciousness. Subject and object, the term “humanum” fathoms the relationship between matter and its living dimension, “this de facto vision and the ‘there is’ which it contains.” The project reconsiders the dialectic between the terms vision–presence in the contemporary perception of archaic human statuary according to the transcendent meaning of its immaterial legacy.

Bioinspired materials for regenerative medicine: going beyond the human archetypes.

The evolution of life has given rise to innumerable biomaterials with high levels of functional sophistication and performance among many thousands of different environments. The inexhaustible range of strategies and the intrinsic good design they possess can be readily included in the design of biomedical devices and materials, such as wound healing bandages and antibacterial surface coating implants. We highlight topical examples where various ingenious design strategies from biological models, originating more broadly from zoology and botany, have been appropriated into novel synthetic materials and structures for regenerative and material-based tissue engineering. Bioinspired materials engineering informed and enriched by the vast array of adaptations and strategies in nature, beyond human biology, will be instrumental in the future evolution of new more clinically acceptable pan-functional materials and structures with a broad range of uses in the regenerative sciences.

El imaginario tecnológico de Domingo Faustino Sarmiento: representaciones y arquetipos de América (1845-1885)

The paper explores the technical dimension of Domingo Faustino Sarmiento’s imaginary and its influence on the construction of representations concerning nature, human types, progress of nations, and scientific personalities. As we will see, the influential Argentine statesman and writer creates, from a technologistic perspective, a wide variety of images and archetypes which can be traced in different publications. The aim of this paper is then to present these different types of symbolic features as a result of his technological attitude and to expose them according to a division that comprises four categories: the first one is devoted to images of an hostile nature; the second one examines the human archetypes he considers; the third one deals with the model nations (in particular, as a result of his trip to the United States), and the fourth one focuses on the treatment of scientists and engineers as heroes and agents of progress.

The hand of the DLR Hand Arm System: Designed for interaction

Physical human–robot interaction implies the intersection of human and robot workspaces and intrinsically favors collision. The robustness of the most exposed parts, such as the hands, is crucial for effective and complete task execution of a robot. Considering the scales, we think that the robustness can only be achieved by the use of energy storage mechanisms, e.g. in elastic elements. The use of variable stiffness drives provides a low-pass filtering of impacts and allows stiffness adjustments depending on the task. However, using these drive principles does not guarantee the safety of the human due to the dramatically increased dynamics of such system. The design methodology of an antagonistically tendon-driven hand is explained. The resulting hand, very close to its human archetype in terms of size, weight, and, in particular, grasping performance, robustness, and dynamics, is presented. The hyper-actuated hand is a research platform that will also be used to investigate the importance of mechanical couplings and, in future projects, be the basis of a simplified hand that would still perform daily manipulation tasks.

Techniques for knowledge acquisition in dynamically changing environments

Intelligent agents often have the same or similar tasks and sometimes they cooperate to solve a given problem. These agents typically know how to observe their local environment and how to react on certain observations, for instance, and this knowledge may be represented in form of rules. However, many environments are dynamic in the sense that from time to time novel rules are required or old rules become obsolete. In this article we propose and investigate new techniques for knowledge acquisition by novelty detection and reaction as well as obsoleteness detection and reaction that an agent may use for self-adaptation to new situations. For that purpose we consider classifiers based on probabilistic rules. Premises of new rules are learned autonomously while conclusions are either obtained from human experts or from other agents which have learned appropriate rules in the past. By means of knowledge exchange, agents will efficiently be enabled to cope with situations they were not confronted with before. This kind of collaborative intelligence follows the human archetype: Humans are able to learn from each other by communicating learned rules. We demonstrate some properties of the knowledge acquisition techniques using artificial data as well as data from the field of intrusion detection.

Case Study: Art and business for European identity: Illustrating meaningful evolutions in business through classical masterpieces of music

We end this special issue with a case study (Darsø 2004) of how Miha Pogacnik, virtuoso violinist and cultural ambassador of Slovenia, works to inspire and engage artful behaviour. Miha's interpretations of musical masterpieces illuminate universal human archetypes, which are profoundly meaningful to individuals as well as to organisations.Music reaches of all the arts the most, the deepest into our experience.Miha PogacnikAt a time when pressures for change are at their highest, from globalisation, new technologies, product and process innovations, successful business leaders need to be at their creative best just to survive. Creativity is the hallmark of art, and artists are increasingly a source of inspiration for entrepreneurs world-wide.Miha Pogacnik's unique contribution stems from this new consciousness, the need for creativity, imagination and perfection in business. Time after time, his input in countless business conferences has been magnificent, unexpected and unique. Through music and art, Miha Pogacnik ignites a new force in us, the power of rising above our old selves in perceiving problems and opportunities in an entirely new light, and thus striking in new directions. Miha is truly at the leading edge of business as we move towards the 21st century.Marcello Palazzi, Co-Founder & Executive Director, Progressio Foundation Rotterdam, Netherlands (Balough 1996)Miha Pogacnik saw the potential of Art & Business long before anyone else and has worked in the field for more than 20 years. Today Miha Pogacnik uses his violin to decompose and play classical masterpieces when doing his presentations around the world as a business consultant with, among others, ABN AMRO Bank, General Electric, JP Morgan, Hewlett-Packard, IBM, Microsoft, LEGO, Mitsubishi, Nike, Nokia, Novartis, Procter & Gamble, Shell, Volvo, World Bank, World Economic Forum, and many more.

Case Study: Art and business for European identity: Illustrating meaningful evolutions in business through classical masterpieces of music

We end this special issue with a case study (Darsø 2004) of how Miha Pogacnik, virtuoso violinist and cultural ambassador of Slovenia, works to inspire and engage artful behaviour. Miha's interpretations of musical masterpieces illuminate universal human archetypes, which are profoundly meaningful to individuals as well as to organisations.Music reaches of all the arts the most, the deepest into our experience.Miha PogacnikAt a time when pressures for change are at their highest, from globalisation, new technologies, product and process innovations, successful business leaders need to be at their creative best just to survive. Creativity is the hallmark of art, and artists are increasingly a source of inspiration for entrepreneurs world-wide.Miha Pogacnik's unique contribution stems from this new consciousness, the need for creativity, imagination and perfection in business. Time after time, his input in countless business conferences has been magnificent, unexpected and unique. Through music and art, Miha Pogacnik ignites a new force in us, the power of rising above our old selves in perceiving problems and opportunities in an entirely new light, and thus striking in new directions. Miha is truly at the leading edge of business as we move towards the 21st century.Marcello Palazzi, Co-Founder & Executive Director, Progressio Foundation Rotterdam, Netherlands (Balough 1996)Miha Pogacnik saw the potential of Art & Business long before anyone else and has worked in the field for more than 20 years. Today Miha Pogacnik uses his violin to decompose and play classical masterpieces when doing his presentations around the world as a business consultant with, among others, ABN AMRO Bank, General Electric, JP Morgan, Hewlett-Packard, IBM, Microsoft, LEGO, Mitsubishi, Nike, Nokia, Novartis, Procter & Gamble, Shell, Volvo, World Bank, World Economic Forum, and many more.