What Is This Thing Called Beauty?

Posted by Keith Tidman

What is this thing called beauty? Our reflexive first thoughts might turn to people creating paintings, sculptures, dance choreographies, songs, novellas, and the like. Without the imposition of rules that prescribe how beauty should be observed and experienced, and that box it in by formalities and what is ‘correct’, this is the most simple, descriptive account that many of us might give.

More liberal reflection, however, eclipses our first thoughts, to arrive at a far broader, more nuanced description of our perception of beauty. Our aesthetic experiences might encompass images of galaxies and supernovas, deft turns of phrase, powerful metaphors, elegant equations, breakthrough technologies, humour, love, fantasies, theatre, and cultural rituals. Urban and rural landscapes, athletics, architecture, physical pleasure, animals and plants, calligraphy, oceans, and chemical formulas. Food presentation and taste, music, unbroken silence, geometry, alone time, learning, engineered structures, social engagement, serendipitous discovery, and the birthing of new life. Texture, colours, lines, beam of light, laughter, computer code, altruism, photography, imagination – and so much more.

We may turn to more specific examples. Beauty in the eye of the beholder, and rules-free, has included Einstein’s iconic equation e=mc2, the neuronal/synaptic activity of the brain, the three-dimensional structure of C6H12, the human genome, and the problem-solving of the Tianhe-2 supercomputer. Poignant lines from Shakespeare, Kant’s Critique of Pure Reason, Mozart’s Missa da Requiem, and Dante’s Divine Comedy. The aurora borealis, a breaching orca and its calf, Istanbul’s skyline at night, and the Lascaux cave paintings. Melt-in-the-mouth chocolate truffles, Provence in spring, Hohenzollern castle, the Grand Canyon catching sunlight, the vision of alternative world futures, the rich nuances of Indian and African languages – and more.

Since these represent descriptions of our experience of beauty, some will be commonly shared – in some cases globally – while others will be appreciated only through individuals’ cognitive lenses, or through culture’s interventionist hand. Yet others are regarded as examples of beauty by ‘insiders’, who are in one way or another habituated to them through educational training, life experiences, or other uniquely personal circumstances. Yet all these experiences are equally legitimate as descriptions of our perception of beauty – none ascends above the others.

What is it, then, that unites these myriad conceptions of beauty? We may now turn our look inward as it were, to our own personhood – which is epitomised by intelligent consciousness. The aesthetic content of beauty as we have described it rests on the individual: not only on the stimuli being experienced, but influenced by the medium between the source and ourselves, by our senses, and by our human cognition. And while it is yet little understood, our consciousness is key to the experience of aesthetics – although these ‘things’ exist independently, their beauty transitions from what is potential to what is real only by being observed and experienced. Through neuroscience – which is informed by physics, biology, and philosophy – consciousness is bound to play an ever-increasing role in our understanding of the cognitive processes associated with our experiences of beauty.

Meanwhile, ‘personhood’ must be folded, however imperfectly, into the explanation of aesthetic experience. Personhood is definable by a multiplicity of factors – the following being just a few among many: our awareness of our existence, our functionality both apart from and as part of a societal network, our accumulation of experiences from which to learn, our vision of alternative futures for which to strive – in fact, a menagerie of cognitive abilities, such as creative, innovative, imaginative, linguistic, computational, logical, and analytical skills. A religious or secular-humanistic framework for personal experience. As well as emotions, sensory messages that reflect our environment, unbridled and insatiable curiosity, awareness of the arrow of time, abstract questioning of meaning and purpose, intuition, and a sense of destiny.

And so we circle back to the beginning – now being able to correlate descriptions of our perception of beauty with our cognitive apparatus. An appreciation of the ‘elegance’ and precision of mathematics is required – in fact, of the universe – to see the beauty in e=mc2. An appreciation of early people’s linking of art and what they valued for survival is needed, to see the beauty of the Lascaux cave art. An appreciation of how music triggers the release of emotions and flights of imagination is required, to hear the soaring beauty of Mozart’s Missa da Requiem. An understanding of humankind’s magnificent complexity, with all its implications for leapfrogging natural evolution is needed, to see the beauty of the human genome – and so forth.

Everything, then, that ‘personhood’ entails feeds into and gives shape to what we consider sources of aesthetic experience – and how, precisely, we respond to those sources. And it is the magnificent breadth of what constitutes our personhood – encapsulated (in part) by the qualities described – which allows for, and makes sense of, the equally magnificent breadth of all that falls under the rubric of descriptive aesthetics.

Eastern and Western Philosophy: Personal Identity

With acknowledgement to the CeramiX Art Collection

Posted by John Hansen

Once, when our world was not so small, major philosophies rarely made contact with one another. Further, being embedded in different languages, different concepts, different cultures, and different religions, on the surface of it they seemed to hold little in common.  

Yet as our world has become smaller, and as scholars have devoted more careful attention to distant ideas, so we have discovered, to our surprise, that our philosophies may be much the same.

A case in point is David Hume, the Scottish philosopher of the 18th Century, and Vasubandhu, the Indian philosopher of (about) the 5th – in particular, their views on personal identity.

From one point of view, there were enormous differences between these two men. Hume was an agnostic, and probably an atheist. He was, in the words of Julian Baggini, ‘as godless a man as can be imagined.’ Vasubandhu, on the other hand, was deeply religious. He was a Buddhist monk who spent much of his life writing commentaries on the teachings of the Buddha.

Yet Hume and Vasubandhu came remarkably close, on core philosophical issues. How then did they diverge so completely on matters of religion? What may this tell us about philosophy – above all about metaphysics? But first, let us survey a few examples of the central concepts common to both men, in the area of personal identity.



Vasubandhu believed that the self is a continuum of 'aggregates', which are the physiological elements which constitute the individual person. Similarly, Hume equated the self with a conglomeration of perceptions, which are in a constant state of flux. Both Hume and Vasubandhu therefore believed that, because of the constant transition of our mental states, these are a part of a continuum that moves in temporal sequence from perception to perception.

Vasubandhu believed that one's memory of an object is aroused when a special function of the mind connects to, and identifies objects from, earlier occurrences. Similarly, Hume believed that whatever the changes a person’s mental state may go through, older perceptions influence newer, and the vehicle for continuity is found in our memory, which acquaints us with a succession of perceptions.

For Vasubandhu, the 'self' which possesses a memory is equivalent to that which generatedthe memory. He argues that the only constant is that of perceived causal connection. Hume, similarly, argues that our memory helps us discover our personal identity by showing us associations among our different perceptions – and these produce the impression of identity.

Vasubandhu, however, did not distinguish between material objects and our mental sensation of them. Hume, on the other hand, did separate the two. Therefore Vasubandhu presumed the existence of objects outside of our mental state of being – allowing for religious belief. But Hume focused almost entirely on empirical comparisons and observations, believing it to be an abuse of the notion of personal identity that the idea of an unchanging substance should be added to it.

Hume the skeptic, and Vasubandhu the monk. How did they come so close on core philosophical questions, yet on the basis of such vastly different presuppositions? How could they so completely diverge on matters of religion, while in basic concepts they so largely agreed? What was it that – as it were – switched on religious corollaries in Vasubandhu, and switched them off in Hume?

Was Hume right? Was Vasubandhu wrong? Were there cracks in the coherence of their philosophies? Did their very languages shape their conceptual associations? Do religious belief or godlessness serve as mere garnish to real philosophy? The answers could have crucial consequences for philosophy.

Eastern and Western Philosophy: Personal Identity

With acknowledgement to the CeramiX Art Collection

Posted by John Hansen

Once, when our world was not so small, major philosophies rarely made contact with one another. Further, being embedded in different languages, different concepts, different cultures, and different religions, on the surface of it they seemed to hold little in common.  

Yet as our world has become smaller, and as scholars have devoted more careful attention to distant ideas, so we have discovered, to our surprise, that our philosophies may be much the same.

A case in point is David Hume, the Scottish philosopher of the 18th Century, and Vasubandhu, the Indian philosopher of (about) the 5th – in particular, their views on personal identity.

From one point of view, there were enormous differences between these two men. Hume was an agnostic, and probably an atheist. He was, in the words of Julian Baggini, ‘as godless a man as can be imagined.’ Vasubandhu, on the other hand, was deeply religious. He was a Buddhist monk who spent much of his life writing commentaries on the teachings of the Buddha.

Yet Hume and Vasubandhu came remarkably close, on core philosophical issues. How then did they diverge so completely on matters of religion? What may this tell us about philosophy – above all about metaphysics? But first, let us survey a few examples of the central concepts common to both men, in the area of personal identity.

Vasubandhu believed that the self is a continuum of 'aggregates', which are the physiological elements which constitute the individual person. Similarly, Hume equated the self with a conglomeration of perceptions, which are in a constant state of flux. Both Hume and Vasubandhu therefore believed that, because of the constant transition of our mental states, these are a part of a continuum that moves in temporal sequence from perception to perception.

Vasubandhu believed that one's memory of an object is aroused when a special function of the mind connects to, and identifies objects from, earlier occurrences. Similarly, Hume believed that whatever the changes a person’s mental state may go through, older perceptions influence newer, and the vehicle for continuity is found in our memory, which acquaints us with a succession of perceptions.

For Vasubandhu, the 'self' which possesses a memory is equivalent to that which generatedthe memory. He argues that the only constant is that of perceived causal connection. Hume, similarly, argues that our memory helps us discover our personal identity by showing us associations among our different perceptions – and these produce the impression of identity.

Vasubandhu, however, did not distinguish between material objects and our mental sensation of them. Hume, on the other hand, did separate the two. Therefore Vasubandhu presumed the existence of objects outside of our mental state of being – allowing for religious belief. But Hume focused almost entirely on empirical comparisons and observations, believing it to be an abuse of the notion of personal identity that the idea of an unchanging substance should be added to it.

Hume the skeptic, and Vasubandhu the monk. How did they come so close on core philosophical questions, yet on the basis of such vastly different presuppositions? How could they so completely diverge on matters of religion, while in basic concepts they so largely agreed? What was it that – as it were – switched on religious corollaries in Vasubandhu, and switched them off in Hume?

Was Hume right? Was Vasubandhu wrong? Were there cracks in the coherence of their philosophies? Did their very languages shape their conceptual associations? Do religious belief or godlessness serve as mere garnish to real philosophy? The answers could have crucial consequences for philosophy.

Eastern and Western Philosophy: Personal Identity

With acknowledgement to the CeramiX Art Collection

Posted by John Hansen

Once, when our world was not so small, major philosophies rarely made contact with one another. Further, being embedded in different languages, different concepts, different cultures, and different religions, on the surface of it they seemed to hold little in common.  

Yet as our world has become smaller, and as scholars have devoted more careful attention to distant ideas, so we have discovered, to our surprise, that our philosophies may be much the same.

A case in point is David Hume, the Scottish philosopher of the 18th Century, and Vasubandhu, the Indian philosopher of (about) the 5th – in particular, their views on personal identity.

From one point of view, there were enormous differences between these two men. Hume was an agnostic, and probably an atheist. He was, in the words of Julian Baggini, ‘as godless a man as can be imagined.’ Vasubandhu, on the other hand, was deeply religious. He was a Buddhist monk who spent much of his life writing commentaries on the teachings of the Buddha.

Yet Hume and Vasubandhu came remarkably close, on core philosophical issues. How then did they diverge so completely on matters of religion? What may this tell us about philosophy – above all about metaphysics? But first, let us survey a few examples of the central concepts common to both men, in the area of personal identity.

Vasubandhu believed that the self is a continuum of 'aggregates', which are the physiological elements which constitute the individual person. Similarly, Hume equated the self with a conglomeration of perceptions, which are in a constant state of flux. Both Hume and Vasubandhu therefore believed that, because of the constant transition of our mental states, these are a part of a continuum that moves in temporal sequence from perception to perception.

Vasubandhu believed that one's memory of an object is aroused when a special function of the mind connects to, and identifies objects from, earlier occurrences. Similarly, Hume believed that whatever the changes a person’s mental state may go through, older perceptions influence newer, and the vehicle for continuity is found in our memory, which acquaints us with a succession of perceptions.

For Vasubandhu, the 'self' which possesses a memory is equivalent to that which generatedthe memory. He argues that the only constant is that of perceived causal connection. Hume, similarly, argues that our memory helps us discover our personal identity by showing us associations among our different perceptions – and these produce the impression of identity.

Vasubandhu, however, did not distinguish between material objects and our mental sensation of them. Hume, on the other hand, did separate the two. Therefore Vasubandhu presumed the existence of objects outside of our mental state of being – allowing for religious belief. But Hume focused almost entirely on empirical comparisons and observations, believing it to be an abuse of the notion of personal identity that the idea of an unchanging substance should be added to it.

Hume the skeptic, and Vasubandhu the monk. How did they come so close on core philosophical questions, yet on the basis of such vastly different presuppositions? How could they so completely diverge on matters of religion, while in basic concepts they so largely agreed? What was it that – as it were – switched on religious corollaries in Vasubandhu, and switched them off in Hume?

Was Hume right? Was Vasubandhu wrong? Were there cracks in the coherence of their philosophies? Did their very languages shape their conceptual associations? Do religious belief or godlessness serve as mere garnish to real philosophy? The answers could have crucial consequences for philosophy.

---

By the same author:  The Pleasures of Idle Thought?

Picture Post No 10: Faceless Fighters of Vietnam, 1972

---

'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Somewhere in the Nam Can forest, Vietnam, in 1972 ( Image: Vo Anh Khanh)

In the pciture above, faceless activists meet in the Nam Can forest, wearing masks to hide their identities from one another in case of capture and interrogation.

For many Americans, the dominant image of the Vietnamese and their Viet Cong allies during the war was as a ghostly enemy sneaking down the Ho Chi Minh trail defying US bombs and apparently inured to suffering.

The visual history of the Vietnam War has been defined by such images. There is Eddie Adams’ photograph of a Viet Cong fighter being executed; Nick Ut’s picture of a naked child fleeing a napalm strike, and Malcolm Browne’s photo of a man setting himself alight in flames at a Saigon intersection.



These scenes were captured by Western photographers working alongside American or South Vietnamese troops. But the North Vietnamese and Viet Cong had photographers of their own. Almost all were self-taught, and worked anonymously, or under a nom de guerre, viewing their role as part of a larger struggle.

‘For us, one photo was like a bullet.’ 

As one of the revolutionary photographers, Nguyen Dinh Uu, put it much later:

‘Processing chemicals were mixed in tea saucers with stream water, and instead of darkrooms, film was developed at night.’

Another photographer, Lam Tan Tai recalls how they came up with a new form of flash photography in order to picture fighters and villagers who were living in bomb shelters and tunnels.

‘We emptied gunpowder from rifle cartridges onto a small handheld device and then lit the gunpowder with a match. The burning powder provided all the light we needed.’

For Mai Nam:

‘The vast dark forest was my giant darkroom. In the morning I’d rinse the prints in a stream and then hang them from trees to dry. In the afternoon I’d cut them to size and do the captions. I’d wrap the prints and negatives in paper and put them in a plastic bag, which I kept close to my body. That way the photos would stay dry and could be easily found if I got killed.’

These photographers worked in the shadow of death whether by bombing, gunfire or from the perils of the jungle on the Ho Chi Minh Trail. Nine out of ten Vietnamese photographers perished whether by bullets, bombs, or disease. Many, such as Vo Anh Khanh, working clandestinely in the South, could never get their images to Hanoi and the media, but instead exhibited them to fighters and villagers in the mangrove swamps of the Mekong Delta - to raise morale.

Each image was precious. Today, with digital images essentially infinite, it is revealing to read that one photographer, Tram Am, had only a single roll of film which he had to use judiciously for the whole duration of the war.

In the early 1990s, two photojournalists, Tim Page and Doug Niven, decided to try to track down surviving Vietnamese photographers. One had a dusty bag of never-printed negatives, and another had his stashed under the bathroom sink. Vo Anh Khanh still kept his pristine negatives in a U.S. ammunition case, with a bed of rice as a desiccant.

One hundred eighty of these unseen photos and the stories of the courageous men who made them are collected in the book: Another Vietnam: Pictures of the War from the Other Side (National Geographic, 2002).

These pictures tell the story of a simple, rural people fighting the most technologically advanced and militarized nation on earth - and finally defeating it. They reveal a reality that nobody outside of the local experience could truly imagine. Looking back today, at Vietnam itself, in many ways their sacrifices seem to have been for nothing. Yet perhaps their struggle, and the images it spawned served a more profound purpose.

Life is not a neatly defined itinerary as these safeguarded masked women neatly standing in line might seem to imply. Rather, there are always several layers of meaning. Indeed, as one Vietnamese proverb puts it: ‘If you travel with Buddha, wear a saffron robe, but if you go with spirits, wear paper clothes.’

Read (and see) more at Mashable.com

---

Picture Post No 10: Faceless Fighters of Vietnam, 1972

---

'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Somewhere in the Nam Can forest, Vietnam, in 1972 ( Image: Vo Anh Khanh)

In the pciture above, faceless activists meet in the Nam Can forest, wearing masks to hide their identities from one another in case of capture and interrogation.

For many Americans, the dominant image of the Vietnamese and their Viet Cong allies during the war was as a ghostly enemy sneaking down the Ho Chi Minh trail defying US bombs and apparently inured to suffering.

The visual history of the Vietnam War has been defined by such images. There is Eddie Adams’ photograph of a Viet Cong fighter being executed; Nick Ut’s picture of a naked child fleeing a napalm strike, and Malcolm Browne’s photo of a man setting himself alight in flames at a Saigon intersection.

These scenes were captured by Western photographers working alongside American or South Vietnamese troops. But the North Vietnamese and Viet Cong had photographers of their own. Almost all were self-taught, and worked anonymously, or under a nom de guerre, viewing their role as part of a larger struggle.

‘For us, one photo was like a bullet.’ 

As one of the revolutionary photographers, Nguyen Dinh Uu, put it much later:

‘Processing chemicals were mixed in tea saucers with stream water, and instead of darkrooms, film was developed at night.’

Another photographer, Lam Tan Tai recalls how they came up with a new form of flash photography in order to picture fighters and villagers who were living in bomb shelters and tunnels.

‘We emptied gunpowder from rifle cartridges onto a small handheld device and then lit the gunpowder with a match. The burning powder provided all the light we needed.’

For Mai Nam:

‘The vast dark forest was my giant darkroom. In the morning I’d rinse the prints in a stream and then hang them from trees to dry. In the afternoon I’d cut them to size and do the captions. I’d wrap the prints and negatives in paper and put them in a plastic bag, which I kept close to my body. That way the photos would stay dry and could be easily found if I got killed.’

These photographers worked in the shadow of death whether by bombing, gunfire or from the perils of the jungle on the Ho Chi Minh Trail. Nine out of ten Vietnamese photographers perished whether by bullets, bombs, or disease. Many, such as Vo Anh Khanh, working clandestinely in the South, could never get their images to Hanoi and the media, but instead exhibited them to fighters and villagers in the mangrove swamps of the Mekong Delta - to raise morale.

Each image was precious. Today, with digital images essentially infinite, it is revealing to read that one photographer, Tram Am, had only a single roll of film which he had to use judiciously for the whole duration of the war.

In the early 1990s, two photojournalists, Tim Page and Doug Niven, decided to try to track down surviving Vietnamese photographers. One had a dusty bag of never-printed negatives, and another had his stashed under the bathroom sink. Vo Anh Khanh still kept his pristine negatives in a U.S. ammunition case, with a bed of rice as a desiccant.

One hundred eighty of these unseen photos and the stories of the courageous men who made them are collected in the book: Another Vietnam: Pictures of the War from the Other Side (National Geographic, 2002).

These pictures tell the story of a simple, rural people fighting the most technologically advanced and militarized nation on earth - and finally defeating it. They reveal a reality that nobody outside of the local experience could truly imagine. Looking back today, at Vietnam itself, in many ways their sacrifices seem to have been for nothing. Yet perhaps their struggle, and the images it spawned served a more profound purpose.

Life is not a neatly defined itinerary as these safeguarded masked women neatly standing in line might seem to imply. Rather, there are always several layers of meaning. Indeed, as one Vietnamese proverb puts it: ‘If you travel with Buddha, wear a saffron robe, but if you go with spirits, wear paper clothes.’

Read (and see) more at Mashable.com

---

The Difficulty of Change

Posted by Tessa den Uyl 

We often use the word 'change' in our conversation. Everybody seems to understand such expressions as: change yourself, we have to change, things are changing, change is needed, or if only something would change.

Change presupposes a certain kind of disruption in the way we think. We guide our perceptions through the creation of conceptual relations, which we think of as stable, of which we are consciously aware, and of which we recognise certain qualities within.

Upon such conceptual relations we act and react. And yet we desire change. This would not be so but for the fact that we question these relations.

In a world of myriad relations, we tend to extract only a few as valuable for the pattern of our proper life. And where we ascribe everything to specific relations in our life, desiring change signals trouble. Yet without change, we have no descriptive material. Without the stream of constant sensory change, how can we perceive life? 



This morning, in a small village in Morocco, I go out to buy a washing powder called Tide. My friend Ilias understands not Tide but tête, meaning 'head'. Ilias does not understand what I want. With the help of a description of laundry, and pointing to the package, eventually we arrive at 'Oh, you want Tide.' Now why would one buy a 'head' in a shop which sells products for the home?

Over the past two years, Ilias and I have conducted a dialogue over many such misunderstandings regarding pronunciation. I try to apprehend his pronunciation, to speak slowly, but today we’re still at the same place where we started.

We are stuck. Ilias thinks that I should learn to speak better French – or from my point of view, I should learn to speak his kind of French. We are caught in a no-man's-land, where there is a problem about who will leave their territory to risk entering another – in which proper communication becomes possible.

What do we learn from this situation, about change? We learn that, in attempting to communicate, both parties need to reconsider the relations which lie behind the words and concepts of their communication. The problem was never really about Tide or tête, but rather about different cultures and perceptions, different languages and foci.

Ilias and I have no 'common ground' where we may place our verbal misunderstandings. His change is not my change. 
My interests are not his, and the relations which he traces in this world are not mine.

However simple this example might seem, it illustrates the difficulty of finding the mutual understandings which are essential before we try to change something in the understanding of another: my lack must become his lack, and his lack must become mine. To be able to act for change, we have to be willing to change the descriptions of the world which we ourselves possess.

In arguments about words, there is always a defence of a supposed norm. And so it is with all change. Change challenges ideas of truth which each one of us carries about with us inside. Psychological change always trespasses on property in this sense – the property of truth. Could it be, then, that change can only come about when we are aware of the diversity among us?

Consider another example. A Yemeni woman exclaims: 'Sometimes I hope that a missile would just blow us all away' – meaning: destroy herself and her family. What the woman desires is her liberation by that same force which took the old, recognisable relations from her.

Often we desire change without having to let go of ideas we have previously used to describe and make sense of the world. We want to continue to recognise something, while (impossibly) including within that old recognition a new, unlived experience of change. This may be why the Yemeni woman 'desires' death – which is the most logical change we can imagine. Although death itself does not change.

Change poses the problem and risk of being reconstructed inside of previously constructed ideas, which are thought upon the logic of some existing principle. Change, then, will eventually serve the function of that principle. If there is to be true change, apart from the irreversibility of death, then this change is not found in adapting to previous notions.

Yet if change is something that does not conform to a previous pattern, then where does change live? Can change then be thought? In a certain way, change can only live in a space unknown to our psyche.

We long for change, knowing that change is about a combination of more things than we can consider. These unconsidered things create not only linguistic difficulties when we talk together, but muddy all of our living together. In whatever way we may use the word 'change', perhaps change truly means the inability to point to ourselves.

The Difficulty of Change

Posted by Tessa den Uyl 

We often use the word 'change' in our conversation. Everybody seems to understand such expressions as: change yourself, we have to change, things are changing, change is needed, or if only something would change.

Change presupposes a certain kind of disruption in the way we think. We guide our perceptions through the creation of conceptual relations, which we think of as stable, of which we are consciously aware, and of which we recognise certain qualities within.

Upon such conceptual relations we act and react. And yet we desire change. This would not be so but for the fact that we question these relations.

In a world of myriad relations, we tend to extract only a few as valuable for the pattern of our proper life. And where we ascribe everything to specific relations in our life, desiring change signals trouble. Yet without change, we have no descriptive material. Without the stream of constant sensory change, how can we perceive life? 

This morning, in a small village in Morocco, I go out to buy a washing powder called Tide. My friend Ilias understands not Tide but tête, meaning 'head'. Ilias does not understand what I want. With the help of a description of laundry, and pointing to the package, eventually we arrive at 'Oh, you want Tide.' Now why would one buy a 'head' in a shop which sells products for the home?

Over the past two years, Ilias and I have conducted a dialogue over many such misunderstandings regarding pronunciation. I try to apprehend his pronunciation, to speak slowly, but today we’re still at the same place where we started.

We are stuck. Ilias thinks that I should learn to speak better French – or from my point of view, I should learn to speak his kind of French. We are caught in a no-man's-land, where there is a problem about who will leave their territory to risk entering another – in which proper communication becomes possible.

What do we learn from this situation, about change? We learn that, in attempting to communicate, both parties need to reconsider the relations which lie behind the words and concepts of their communication. The problem was never really about Tide or tête, but rather about different cultures and perceptions, different languages and foci.

Ilias and I have no 'common ground' where we may place our verbal misunderstandings. His change is not my change. 
My interests are not his, and the relations which he traces in this world are not mine.

However simple this example might seem, it illustrates the difficulty of finding the mutual understandings which are essential before we try to change something in the understanding of another: my lack must become his lack, and his lack must become mine. To be able to act for change, we have to be willing to change the descriptions of the world which we ourselves possess.

In arguments about words, there is always a defence of a supposed norm. And so it is with all change. Change challenges ideas of truth which each one of us carries about with us inside. Psychological change always trespasses on property in this sense – the property of truth. Could it be, then, that change can only come about when we are aware of the diversity among us?

Consider another example. A Yemeni woman exclaims: 'Sometimes I hope that a missile would just blow us all away' – meaning: destroy herself and her family. What the woman desires is her liberation by that same force which took the old, recognisable relations from her.

Often we desire change without having to let go of ideas we have previously used to describe and make sense of the world. We want to continue to recognise something, while (impossibly) including within that old recognition a new, unlived experience of change. This may be why the Yemeni woman 'desires' death – which is the most logical change we can imagine. Although death itself does not change.

Change poses the problem and risk of being reconstructed inside of previously constructed ideas, which are thought upon the logic of some existing principle. Change, then, will eventually serve the function of that principle. If there is to be true change, apart from the irreversibility of death, then this change is not found in adapting to previous notions.

Yet if change is something that does not conform to a previous pattern, then where does change live? Can change then be thought? In a certain way, change can only live in a space unknown to our psyche.

We long for change, knowing that change is about a combination of more things than we can consider. These unconsidered things create not only linguistic difficulties when we talk together, but muddy all of our living together. In whatever way we may use the word 'change', perhaps change truly means the inability to point to ourselves.

Machiavelli’s Understanding of the Art of Politics

Posted by Bohdana Kurylo

Can Niccolò Machiavelli’s political philosophy be compared with a dance?

Niccolò Machiavelli, who is often regarded as the founder of modern political science, is generally deemed a propagator of cruelty and immorality. Yet while he broke with the conventional language of politics in his day – based upon Christian values and a Ciceronian belief that a prince achieved glory through virtue – it is more appropriate to think of him as a pragmatist who introduced a greater realism to political philosophy. More important still, it was Machiavelli’s creative interpretation that helped him convert politics into scientific art which could be applied in everyday practice.

In The Prince, Machiavelli offered a pragmatic approach to politics which, rather than focusing on moral values, combined the importance of skill and prudence. Inspired by the success of the Roman State, Machiavelli thought of history as being cyclical – as he thought, too, of political issues. His understanding of politics thus came with an interest in history and statecraft, and he drew his conclusions from historical examples of agents. This contributed to his pessimism in regard to human nature and morality. Therefore, his most famous work, The Prince, which shuns the received views, Christian and Ciceronian – in fact warns against them – states that a successful ruler should act according to the circumstances, whereas being ‘good’ will lead to his downfall.

It could be claimed that Machiavelli sought to justify vices when speaking of the conflict between morality and reality. However, as the political philosopher Leo Strauss rightly suggests, it would be unfair to echo ‘the old-fashioned and simple opinion according to which Machiavelli was a teacher of evil’. As an example, when making an analysis of Agathocles of Sicily, who came to power with wicked cruelty, Machiavelli clearly condemned his actions and stated that ‘one cannot call it virtú to kill one’s citizens, betray one’s friends, to break one’s word, to be without mercy, without religion’. In addition, Strauss remarks that many extreme statements of Machiavelli were not intended to be taken seriously, but rather had the pedagogic intention of freeing ‘young’ princes from effeminacy. In the view of professor of politics Maurizio Viroli, he did not ‘construct a new language’, but provided a new, more pragmatic assessment of the art of politics.



In The Prince, Machiavelli proposed the twin conceptions of virtú and Fortuna. Whereas Fortuna is chance or contingency, virtú is open to interpretation, and may be associated with prudence, skill, and the ability to adapt to contingencies. This further emphasises the fact that he introduced a new kind of political understanding which was independent of any established norms, and tied to the idea of flexibility. The Prince provides Cesare Borgia as an example of a ruler who acquired his principality by chance, and had great virtú in taking advantage of his power. Although virtú alone is likely to be useless for the achievement of the highest goals and glory, Machiavelli believed that, through flexibility and bravery, it could win over Fortuna, since ‘Fortuna is a lady’. In doing so, he made room for chance and flexibility in politics, knowing that focusing on rigid scientific rules would be detrimental.

Understanding Machiavelli’s perception of politics is complicated by the presence of both scientific and creative elements in it. At first sight, The Prince gives historical examples and practical advice. However, despite pragmatic scientific elements, it is more art, as it understands that there is more than one interpretation for doing politics. Mutatis mutandis (the necessary changes having been made), there is a likelihood of failure if the prince does not continue to adapt to changing circumstances, because ‘he will continue to behave in the same way’. Moreover, Machiavelli emphasises that the notions of luck and flexibility are influenced by one’s own interpretation, thus further highlighting that there is no set way by which success is achieved. The text shows, too, the importance of self-presentation and the ‘creative use of deception’ as a part of virtú, describing politics as a ‘space of appearance’.

In many ways, Machiavelli’s perception of politics can be compared to a political dance – for which one should learn the right moves, but also listen to the melody and be flexible enough to adjust to its flow. Clearly a dance, like politics, can be different to other dances, and would require different costumes, too, to accentuate the movements – which recalls Machiavelli's statement that the prince’s qualities should change, depending on the situation. In fact, The Prince, as much as it is political science, exemplifies the artistic side of Machiavelli’s understanding of politics, which applied the art of politics to everyday practice.

Machiavelli’s Understanding of the Art of Politics

Posted by Bohdana Kurylo

Can Niccolò Machiavelli’s political philosophy be compared with a dance?

Niccolò Machiavelli, who is often regarded as the founder of modern political science, is generally deemed a propagator of cruelty and immorality. Yet while he broke with the conventional language of politics in his day – based upon Christian values and a Ciceronian belief that a prince achieved glory through virtue – it is more appropriate to think of him as a pragmatist who introduced a greater realism to political philosophy. More important still, it was Machiavelli’s creative interpretation that helped him convert politics into scientific art which could be applied in everyday practice.

In The Prince, Machiavelli offered a pragmatic approach to politics which, rather than focusing on moral values, combined the importance of skill and prudence. Inspired by the success of the Roman State, Machiavelli thought of history as being cyclical – as he thought, too, of political issues. His understanding of politics thus came with an interest in history and statecraft, and he drew his conclusions from historical examples of agents. This contributed to his pessimism in regard to human nature and morality. Therefore, his most famous work, The Prince, which shuns the received views, Christian and Ciceronian – in fact warns against them – states that a successful ruler should act according to the circumstances, whereas being ‘good’ will lead to his downfall.

It could be claimed that Machiavelli sought to justify vices when speaking of the conflict between morality and reality. However, as the political philosopher Leo Strauss rightly suggests, it would be unfair to echo ‘the old-fashioned and simple opinion according to which Machiavelli was a teacher of evil’. As an example, when making an analysis of Agathocles of Sicily, who came to power with wicked cruelty, Machiavelli clearly condemned his actions and stated that ‘one cannot call it virtú to kill one’s citizens, betray one’s friends, to break one’s word, to be without mercy, without religion’. In addition, Strauss remarks that many extreme statements of Machiavelli were not intended to be taken seriously, but rather had the pedagogic intention of freeing ‘young’ princes from effeminacy. In the view of professor of politics Maurizio Viroli, he did not ‘construct a new language’, but provided a new, more pragmatic assessment of the art of politics.

In The Prince, Machiavelli proposed the twin conceptions of virtú and Fortuna. Whereas Fortuna is chance or contingency, virtú is open to interpretation, and may be associated with prudence, skill, and the ability to adapt to contingencies. This further emphasises the fact that he introduced a new kind of political understanding which was independent of any established norms, and tied to the idea of flexibility. The Prince provides Cesare Borgia as an example of a ruler who acquired his principality by chance, and had great virtú in taking advantage of his power. Although virtú alone is likely to be useless for the achievement of the highest goals and glory, Machiavelli believed that, through flexibility and bravery, it could win over Fortuna, since ‘Fortuna is a lady’. In doing so, he made room for chance and flexibility in politics, knowing that focusing on rigid scientific rules would be detrimental.

Understanding Machiavelli’s perception of politics is complicated by the presence of both scientific and creative elements in it. At first sight, The Prince gives historical examples and practical advice. However, despite pragmatic scientific elements, it is more art, as it understands that there is more than one interpretation for doing politics. Mutatis mutandis (the necessary changes having been made), there is a likelihood of failure if the prince does not continue to adapt to changing circumstances, because ‘he will continue to behave in the same way’. Moreover, Machiavelli emphasises that the notions of luck and flexibility are influenced by one’s own interpretation, thus further highlighting that there is no set way by which success is achieved. The text shows, too, the importance of self-presentation and the ‘creative use of deception’ as a part of virtú, describing politics as a ‘space of appearance’.

In many ways, Machiavelli’s perception of politics can be compared to a political dance – for which one should learn the right moves, but also listen to the melody and be flexible enough to adjust to its flow. Clearly a dance, like politics, can be different to other dances, and would require different costumes, too, to accentuate the movements – which recalls Machiavelli's statement that the prince’s qualities should change, depending on the situation. In fact, The Prince, as much as it is political science, exemplifies the artistic side of Machiavelli’s understanding of politics, which applied the art of politics to everyday practice.