Cosmopolitanism and Culture (Englisch) Taschenbuch – 2. März 2012
T herefore there is no strict code of predetermined order through which universals are established, but at the same time, there is a need to assert some kind of absolute as one observes, interacts and speculates about the world. T he aesthetic use of the universal is therefore like a constant experiment, a testing, probing, an incomplete quest. It must retain a degree of openness in order to keep… Читать ещё >
Cosmopolitanism and Culture (Englisch) Taschenbuch – 2. März 2012 (реферат, курсовая, диплом, контрольная)
This can allow new forms of hospitality.
The author provides a firm critique of both network and mobility-based understandings of cosmopolitanism and propose the idea of «lines and clusters» (influenced by Deleuze) [pages 89−238]. The approach on the formations of cosmopolitanism is inspired by the capacities expressed by both individuals and collectives to transform them through the incorporation of the other. For this to occur however, it is also necessary that the social and perceptual system be relatively open-ended. The approach of Papastergiadis is affirmative of the individual capacity to adapt and optimistic that social formations are responsive rather than fixed and closed.
T he important aspects of aesthetic cosmopolitanism are the desire to avoid universalisms and cosmopolitan imagination. U niversal values are both necessary and impossible. T he crazy thing about an artwork is that it actually imposes a new universality in each iteration.
E ach artwork also seeks to make a world, it has an imperious demand to see the whole anew and propose an alternative order. I n this sense art is a world making activity. I t is about the cosmos in cosmopolitanism, and it is an activity that is engaged in re-making the cosmos. O f course, it always fails, but at the same time, each artist is compelled to repeat this task.
I n that sense the condition of and possibility for realizing universalism is paradoxical, or as Spivak once said, a form of strategic essentialism [pages 192,200,204]. T herefore there is no strict code of predetermined order through which universals are established, but at the same time, there is a need to assert some kind of absolute as one observes, interacts and speculates about the world. T.
he aesthetic use of the universal is therefore like a constant experiment, a testing, probing, an incomplete quest. It must retain a degree of openness in order to keep the creative process alive, but it must also make a claim about the world in each instance [page 355].