according to wikipedia

 

A hijab or ḥijāb (Arabic: حجاب, (he-zjab)pronounced [ħiˈʒæːb]/[ħiˈɡæːb]) is both the head covering traditionally worn by Muslim women and modest Muslim styles of dress in general.

 

The Arabic word literally means curtain or cover (noun). Most Islamic legal systems define this type of modest dressing as covering everything except the face and hands in public.[1][2] According to Islamic scholarship, hijab is given the wider meaning of modesty, privacy, and morality;[3] the word for a headscarf or veil used in the Qur'an is khimār (خمار) and not hijab. Still another definition is metaphysical, where al-hijab refers to "the veil which separates man or the world from God."[2]

 

Muslims differ as to whether the hijab should be required on women in public, as it is in countries like Iran and Saudi Arabia, or whether it should be banned in schools, as it is in France and Turkey.

  

According to the Encyclopedia of Islam and the Muslim World, the meaning of hijab has evolved over time:

 

The term hijab or veil is not used in the Qur'an to refer to an article of clothing for women or men, rather it refers to a spatial curtain that divides or provides privacy. The Qur'an instructs the male believers (Muslims) to talk to wives of Prophet Muhammad behind a hijab. This hijab was the responsibility of the men and not the wives of Prophet Muhammad. However, in later Muslim societies this instruction, specific to the wives of Prophet Muhammad, was generalized, leading to the segregation of the Muslim men and women. The modesty in Qur'an concerns both men's and women's gaze, gait, garments, and genitalia. The clothing for women involves khumūr over the necklines and jilbab (cloaks) in public so that they may be identified and not harmed. Guidelines for covering of the entire body except for the hands, the feet and the face, are found in texts of fiqh and hadith that are developed later.[4]

 

In Indonesia, notably the nation with the largest Muslim population, and some cultures or languages influenced by it namely Malaysia, Brunei and the Philippines, the term jilbab is used instead with few exceptions to refer to the hijab, as opposed to its "correct" modern Arabic definition. In some cases, colloquial use of the term Jilbab may refer to any pre-Islamic female traditional head-dress.

 

Qur'an

 

The Qur'an instructs both Muslim men and women to dress in a modest way.

 

The clearest verse on the requirement of the hijab is surah 24:30-31, asking women to draw their khimar over their bosoms.[5][6]

 

And say to the believing women that they should lower their gaze and guard their modesty; that they should not display their beauty and ornaments except what (must ordinarily) appear thereof; that they should draw their khimar over their bosoms and not display their beauty except to [...] (Qur'an 24:31)

 

In the following verse, Muslim women are asked to draw their jilbab over them (when they go out), as a measure to distinguish themselves from others, so that they are not harassed. Sura 33:59 reads:[6]

 

Those who harass believing men and believing women undeservedly, bear (on themselves) a calumny and a grievous sin. O Prophet! Enjoin your wives, your daughters, and the wives of true believers that they should cast their outer garments over their persons (when abroad) That is most convenient, that they may be distinguished and not be harassed. [...] (Qur'an 33:58–59)

 

Other Muslims take a relativist approach to ħijāb. They believe that the commandment to maintain modesty must be interpreted with regard to the surrounding society. What is considered modest or daring in one society may not be considered so in another. It is important, they say, for believers to wear clothing that communicates modesty and reserve in the situations in which they find themselves.[7]

 

Along with scriptural arguments, Leila Ahmed argues that head covering should not be compulsory in Islam because the veil predates the revelation of the Qur'an. Head-covering was introduced into Arabia long before Muhammad, primarily through Arab contacts with Syria and Iran, where the hijab was a sign of social status. After all, only a woman who need not work in the fields could afford to remain secluded and veiled.[8][9]

 

Leila Ahmed argues for a more liberal approach to hijab. Among her arguments is that while some Qur'anic verses enjoin women in general to Qur'an 33:58–59. “draw their Jilbabs (overgarment or cloak) around them to be recognized as believers and so that no harm will come to them.” and Qur'an 24:31. “guard their private parts... and drape down khimar over their breasts [when in the presence of unrelated men]”, they urge modesty.

 

However according to the vast majority of Muslims Sunni and Shia, al-Mawrid al-Qawrid Arabic dictionary, Hans-Wehr Dictionary of Arabic into English, and the exhaustive ancient Arabic dictionary "Lisan al-arab", (literally the tongue of the Arabs) the word 'Khimar' means and was used to refer to a piece of cloth that covers the head, or headscarf today called 'hijab'.

 

Other verses do mention separation of men and women but they refer specifically to the wives of the prophet:

 

Abide still in your homes and make not a dazzling display like that of the former times of ignorance:(Qur'an 33:32–33)

 

And when ye ask of them [the wives of the Prophet] anything, ask it of them from behind a curtain.(Qur'an 33:53)

 

According to Leila Ahmed, nowhere in the whole of the Qur'an is the term hijab applied to any woman other than the wives of Muhammad..[8][10]

 

According to at least two authors, (Reza Aslam and Leila Ahmed) the stipulations of the hijab were originally meant only for Muhammad's wives, and were intended to maintain their inviolability. This was because Muhammad conducted all religious and civic affairs in the mosque adjacent to his home:

 

People were constantly coming in and out of this compound at all hours of the day. When delegations from other tribes come to speak with Prophet Muhammad, they would set up their tents for days at a time inside the open courtyard, just a few feet away from the apartments in which Prophet Muhammad's wives slept. And new emigrants who arrived in Yatrib would often stay within the mosque's walls until they could find suitable homes.[8]

 

According to Ahmed:

 

By instituting seclusion Prophet Muhammad was creating a distance between his wives and this thronging community on their doorstep.[11]

 

They argue that the term darabat al-hijab ("taking the veil"), was used synonymously and interchangeably with "becoming Prophet Muhammad's wife", and that during Muhammad's life, no other Muslim woman wore the hijab. Aslam suggests that Muslim women started to wear the hijab to emulate Muhammad's wives, who are revered as "Mothers of the Believers" in Islam,[8] and states "there was no tradition of veiling until around 627 C.E." in the Muslim community.[8][11]

  

The four major Sunni schools of thought (Hanafi, Shafi'i, Maliki and Hanbali) hold that entire body of the woman, except her face and hands- though many[who?] say face, hands, and feet-, is part of her awrah, that is the parts of her body that must be covered during prayer and in public settings.[13][14]

 

Some Muslims[who?] recommend that women wear clothing that is not form fitting to the body: either modest forms of western clothing (long shirts and skirts), or the more traditional jilbāb, a high-necked, loose robe that covers the arms and legs. A khimār or shaylah, a scarf or cowl that covers all but the face, is also worn in many different styles. Some Salafi scholars encourage covering the face, while some follow the opinion that it is only not obligatory to cover the face and the hands but mustahab (Highly recommended). Other scholars oppose face covering, particularly in the west where the woman may draw more attention as a result. These garments are very different in cut than most of the traditional forms of ħijāb, and they are worn worldwide by Muslims.

 

Detailed scholarly attention has been focused on prescribing female dress. Most scholars agree that the basic requirements are that when in the presence of someone of the opposite sex (other than a close family member - see mahram), a woman should cover her body, and walk and dress in a way which does not draw sexual attention to her. Some scholars go so far as to specify exactly which areas of the body must be covered. In some cases, this is everything save the eyes but most require everything save the face and hands to be covered. In nearly all Muslim cultures, young girls are not required to wear a ħijāb. There is not a single agreed age when a woman should begin wearing a ħijāb; however, in many Muslim countries, puberty is the dividing line.

 

In private, and in the presence of mahrams, the rules on dress are relaxed. However, in the presence of husband, most scholars stress the importance of mutual freedom and pleasure of the husband and wife.[15]

  

The burqa (also spelled burka) is the garment that covers women most completely: either only the eyes are visible, or nothing at all. Originating in what is now Pakistan, it is more commonly associated with the Afghan chadri. Typically, a burqa is composed of many yards of light material pleated around a cap that fits over the top of the head, or a scarf over the face (save the eyes). This type of veil is cultural as well as religious.

 

It has become tradition that Muslims in general, and Salafis in particular, believe the Qur'ān demands women wear the garments known today as jilbāb and khumūr (the khumūr must be worn underneath the jilbāb). However, Qur'ān translators and commentators translate the Arabic into English words with a general meaning, such as veils, head-coverings and shawls.[16] Ghamidi argues that verses [Qur'an 24:30] teach etiquette for male and female interactions, where khumūr is mentioned in reference to the clothing of Arab women in the 7th century, but there is no command to actually wear them in any specific way. Hence he considers head-covering a preferable practice but not a directive of the sharia (law).[17]

[edit] Men's dress

 

Although certain general standards are widely accepted, there has been little interest in narrowly prescribing what constitutes modest dress for Muslim men. Most mainstream scholars say that men should cover themselves from the navel to the knees; a minority say that the hadith that are held to require this are weak and possibly inauthentic. They argue that there are hadith indicating that the Islamic prophet Muħammad wore clothing that uncovered his thigh when riding camels, and hold that if Muħammad believed that this was permissible, then it is surely permissible for other Muslim males.[citation needed]

 

As a practical matter, however, the opinion that Muslim men must cover themselves between the navel and the knees is predominant, and most Muslims believe that a man who fails to observe this requirement during salah must perform the prayer again,[citation needed] properly covered, in order for it to be valid. Three of the four Sunni Madh'hab, or schools of law, require that the knees be covered; the Maliki school recommends but does not require knee covering.

 

According to some hadith, Muslim men are asked not to wear gold jewellery, silk clothing, or other adornments that are considered feminine. Some scholars say that these prohibitions should be generalized to prohibit the lavish display of wealth on one's person.[18]

 

In more secular Muslim nations, such as Turkey or Tunisia, many women are choosing, or being coerced, to wear the Hijab, Burqa, Niqab, etc. because of the widespread growth of the Islamic revival in those areas.[citation needed] Similarly, increasing numbers of men are abandoning the Western dress of jeans and t-shirts, that dominated places like Egypt 20 to 30 years ago, in favour of more traditional Islamic clothing such as the Galabiyya.

 

In Iran many women, especially younger ones, have taken to wearing transparent, colorful and very loosly worn Hijabs instead of Chadors or mantoos to protest but keep within the law of the state.

 

The colors of this clothing varies. It is mostly black, but in many African countries women wear clothes of many different colours depending on their tribe, area, or family. In Turkey, where the hijab is banned in private and state universities and schools, 11% of women wear it, though 60% wear traditional non-Islamic headscarves, figures of which are often confused with hijab.[19] [20][21]

 

In many of the western nations, there has been a general rise of hijab-wearing women. They are especially common in Muslim Student Associations at college campuses.

 

Some Muslims have criticized strict dress codes that they believe go beyond the demands of hijab, using Qur'an 66:1 to apply to dress codes as well; the verse suggests that it is wrong to refrain from what is permitted by God.[cit

  

John Esposito, professor of Islamic Studies at Georgetown University, writes that the customs of veiling and seclusion of women in early Islam were assimilated from the conquered Persian and Byzantine societies and then later on they were viewed as appropriate expressions of Quranic norms and values. The Qur'an does not stipulate veiling or seclusion; on the contrary, it tends to emphasize the participation of religious responsibility of both men and women in society.[22] He claims that "in the midst of rapid social and economic change when traditional security and support systems are increasingly eroded and replaced by the state, (...) hijab maintains that the state has failed to provide equal rights for men and women because the debate has been conducted within the Islamic framework, which provides women with equivalent rather than equal rights within the family."[23]

 

Bloom and Blair also write that the Qur'an doesn't require women to wear veils; rather, it was a social habit picked up with the expansion of Islam. In fact, since it was impractical for working women to wear veils, "A veiled woman silently announced that her husband was rich enough to keep her idle."[24]

[edit] Modern practice

 

Some governments encourage and even oblige women to wear the hijab, whilst others have banned it in at least some public settings.

 

Some Muslims believe hijab covering for women should be compulsory as part of sharia, i.e. Muslim law. Wearing of the hijab was enforced by the Taliban regime in Afghanistan, and is enforced in the Kingdom of Saudi Arabia and in the Islamic Republic of Iran. The Islamic Emirate required women to cover not only their head but their face as well, because "the face of a woman is a source of corruption" for men not related to them.[25] While some women wholeheartedly embrace the rules, others protest by observing the rules in slipshod or inconsistent fashion, or flouting them whenever possible. Sudan's criminal code allows the flogging or fining of anyone who “violates public morality or wears indecent clothing”, albeit without defining "indecent clothing",

 

Turkey, Tunisia, and Tajikistan are Muslim-majority countries where the law prohibits the wearing of hijab in government buildings, schools, and universities. In Tunisia, women were banned from wearing hijab in state offices in 1981 and in the 1980s and 1990s more restrictions were put in place.[26] The Turkish government recently attempted to lift a ban on Muslim headscarves at universities, but were overturned by the country's Constitutional Court.[27]

 

On March 15, 2004, France passed a law banning "symbols or clothes through which students conspicuously display their religious affiliation" in public primary schools, middle schools, and secondary schools. In the Belgian city of Maaseik, Niqāb has been banned.[28] (2006)

 

On July 13, 2010, France's lower house of parliament overwhelmingly approved a bill that would ban wearing the Islamic full veil in public. There were 335 votes for the bill and only one against in the 557-seat National Assembly.

[edit] Non-governmental

 

Non-governmental enforcement of hijab is found in many parts of the Muslim world.

 

Successful informal coercion of women by sectors of society to wear hijab has been reported in Gaza where Mujama' al-Islami, the predecessor of HAMAS, reportedly used "a mixture of consent and coercion" to "`restore` hijab" on urban educated women in Gaza in the late 1970s and 1980s.[29]

 

Similar behavior was displayed by Hamas itself during the first intifada in Palestine. Though a relatively small movement at this time, Hamas exploited the political vacuum left by perceived failures in strategy by the Palestinian factions to call for a 'return' to Islam as a path to success, a campaign that focused on the role of women.[30] Hamas campaigned for the wearing of the hijab alongside other measures, including insisting women stay at home, segregation from men and the promoting of polygamy. In the course of this campaign women who chose not to wear the hijab were verbally and physically harassed, with the result that the hijab was being worn 'just to avoid problems on the streets'.[31]

 

In France, according to journalist Jane Kramer, veiling among school girls became increasingly common following the 9/11 Attack of 2001, due to coercion by "fathers and uncles and brothers and even their male classmates" of the school girls. "Girls who did not conform were excoriated, or chased, or beaten by fanatical young men meting out Islamic justice."[32] According to the American magazine The Weekly Standard, a survey conducted in France in May 2003 reportedly "found that 77% of girls wearing the hijab said they did so because of physical threats from Islamist groups."[33]

 

In India a 2001 "acid attack on four young Muslim women in Srinagar ... by an unknown militant outfit, [was followed by] swift compliance by women of all ages on the issue of wearing the chadar (head-dress) in public."[34][35][36]

 

In Basra Iraq, "more than 100 women who didn't adhere to strict Islamic dress code" were killed between the summer of 2007 and spring of 2008 by Islamist militias (primarily the Mahdi Army) who controlled the police there, according to the CBS news program 60 Minutes.[37]

 

Islamists in other countries have been accused of attacking or threatening to attack the faces of women in an effort to intimidate them from wearing of makeup or allegedly immodest dress.[38][39][40]

[edit] Hijab by country

  

The veil has become the subject of lively contemporary debate, in Muslim countries as well as within Western countries with Muslim populations. For example, in 2006 British government minister Jack Straw suggested that communication with some of the Muslim members of his constituency would be made significantly easier if they ceased covering their faces.[41] In broader terms, the sweep of the debate is captured by Bodman and Tohidi, stating that 'the meaning of the hijab ranges from a form of empowerment for the woman choosing to wear it to a means of seclusion and containment imposed by others'.[42] The subject has also become highly politicized. There is a diverse range of views on the wearing of the hijab in general. Sadiki interviews a woman who views it as 'submission to God's commandments'.[43] Rubenberg illustrates how even secular women in Muslim countries can be made to wear the veil due to a social or political context.[44] Some criticise the hijab in its own right as a regressive device, such as Polly Toynbee stating that it 'turns women into things'.[45] Faisal al Yafai meanwhile argues that the veil should be debated, but that more pressing issues like political and legal rights of women should be a greater priority.[46]

 

Writers such as Leila Ahmed and Karen Armstrong have highlighted how the veil became a symbol of resistance to colonialism, particularly in Egypt in the latter part of the 19th Century, and again today in the post-colonial period. In The Battle for God, Armstrong writes:

 

“The veiled woman has, over the years, become a symbol of Islamic self-assertion and a rejection of Western cultural hegemony.”[47]

 

While in Women and Gender, Ahmed states:

 

“...it was the discourses of the West, and specifically the discourse of colonial domination, that in the first place determined the meaning of the veil in geopolitical discourses and thereby set the terms for its emergence as a symbol of resistance.”[48]

 

The issue of the veil has thus been “hijacked” to a degree by cultural essentialists on both sides of the divide.[citation needed] Arguments against veiling have been co-opted, along with wider “feminist” discourse, to create a colonial “feminism” that uses questions of Muslim women’s dress amongst others to justify “patriarchal colonialism in the service of particular political ends.”[citation needed] Thus, efforts to improve the situation of women in Muslim (and other non-Western) societies are judged purely on what they wear.[citation needed] Meanwhile, for Islamists, rejection of “Western” modes of dress is not enough: resistance and independence can only be demonstrated by the “wholesale affirmation of indigenous culture”[49]—a prime example being the wearing of the veil.

 

Tracing the Victorian law of coverture, Legal Scholar L. Ali Khan provides a critique of the British male elite that wishes to impose its own "comfort views" to unveil Muslim women from Asia, Africa, and Middle East.[50]

 

In her discussion of findings from interviews of university-educated Moroccan Muslim women who choose to wear the Hijab, Hessini argues that wearing the Hijab is used as a method of separation of women from men when women work and therefore step into what is perceived to be the men’s public space, so in this case, when women have the right and are able to work, a method has been found to maintain the traditional societal arrangements.[51]

 

Academic Rema Hammai quotes a Palestinian woman reflective of an "activist" resistance to "hijabization" in Gaza saying that "in my community it's natural to wear" hijab. "The problem is when little boys, including my son, feel they have the right to tell me to wear it."[52] Similarly Iranian-American novelist Azar Nafisi, author of Reading Lolita in Tehran, Marjane Satrapi, author of the graphic novel Persepolis, and Parvin Darabi, who wrote Rage Against the Veil are some of the famous opponents of compulsory hijab, which was protested when first imposed.[53]

 

Cheryl Benard, writing an opinion piece in Rand Corporation, criticized those who used fear to enforce the hijab and stated that "in Pakistan, Kashmir, and Afghanistan, hundreds of women have been blinded or maimed when acid was thrown on their unveiled faces by male fanatics who considered them improperly dressed."[54]

 

Lubna al-Hussein, a journalist in Khartoum, was arrested by the Public Order Police for wearing trousers. She is protesting the punishment for breaking hijab: forty lashes and an indeterminate fine.

Metaphysical shop in New Paltz NY.

Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.

 

Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.

 

After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.

 

Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.

 

His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.

 

The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.

 

Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.

 

Written by Ioli Vingopoulou

 

Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.

 

Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.

 

Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.

 

Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.

 

Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.

 

Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.

 

Yazan: İoli Vingopoulou

 

Arm tattoo - Chinese+ metaphysic design, by Aupoman.

Painted in 1917. The subject of this painting comes from the Iliad, when the Trojan hero Hector bids goodbye to his wife Andromache before he leaves to fight the Achaeans. Italian artist Giorgio De Chirico (1888-1978) painted the figures into geometrical shapes typical of his 'metaphysical' style.

Facevinyl Theatre

Un omaggio a Boecklin, a Magritte, al simbolismo, alla metafisica...

 

An hommage to Boecklin, to Magritte, to the symbolism, to metaphysic...

Hand crafted wiccan pentacle altar with drawer

Metaphysics morning

Metaphysically

This is part of a leaf from a copy of Aristotle's "Metaphysica" in the Latin translation of William of Moerbeke. It was probably produced in Germany in the fourteenth century.

 

The text is from Book 3 of Aristotle's “Metaphysica” in the Latin translation of William of Moerbeke If this had been a complete leaf the text would probably have started in Chapter 1, Section 7 but as it is, the first part line is towards the beginning of Section 8 (“et tractandum). The text then continues through to Chapter 2 as far as Section 20 where it ends immediately before the catch words in the bottom margin of the verso (“sensus palma”).

Note: - At www.logicmuseum.com/wiki/Authors/Aristotle/metaphysics/l3 can be found this text in its original Greek, in the Latin translation and in an English translation.

 

There are 30 complete lines in two columns of text plus another 6 part lines. It is estimated that there are another 9 lines missing.

 

The maximum size of the fragment as presented is 272 x 223mm (10 7/10ins. x 8 8/10ins.).

It is possible to estimate what the size of the complete leaf would have been as follows: -

The existing 36 lines (=167mm) + an estimated 9 additional lines of text (= 40mm) + height of bottom margin (=101mm) + estimated height of top margin (half bottom margin = say 52mm).

This gives an estimated leaf size of 360mm x 223mm (14 2/10ins x 8 8/10ins.).

 

OVERALL CONDITION: -

There is no doubt that this item is somewhat of a wreck. A quarter of the original leaf has been lost and what remains has creases and areas that are darkened from its use as a book cover. The later addition to the bottom margin also does nothing to improve the look of the fragment.

 

GENERAL COMMENTS: -

Despite the condition issues, this is a superb addition to the collection. Most leaves that have Aristotle texts are from texts other than “Metaphysica” and from texts that are actually commentaries on Aristotle texts. Leaves like this one that are the Aristotle “Metaphysica” on its own are quite uncommon. A single leaf that was Bloomsbury Auctions, Western and Oriental Manuscripts and Miniatures, 7th. December 2016, Lot 28 sold for £3,720 (including buyers premium). Also, a half leaf in a somewhat distressed condition that was Bloomsbury Auctions, Western and Oriental Manuscripts and Miniatures, 10th. July 2018, Lot 37 sold for £868 (including buyers premium).

 

ARISTOTLE (384-322 BC): -

Aristotle was an ancient Greek philosopher and scientist born in the city of Stagira, Chalkidiki, Greece. Along with Plato, he is considered the "Father of Western Philosophy". Aristotle provided a complex and harmonious synthesis of the various existing philosophies prior to him, including those of Socrates and Plato, and it was above all from his teachings that the West inherited its fundamental intellectual lexicon, as well as problems and methods of inquiry. As a result, his philosophy has exerted a unique influence on almost every form of knowledge in the West and it continues to be central to the contemporary philosophical discussion.

 

The works of Aristotle were described by Cicero as “a river of gold”, but were almost entirely lost to the West with the fall of the Roman Empire. They were rediscovered in their original Greek as well as Arabic translations following the Crusades in the twelfth and thirteenth centuries, and Latin translations such as this one swept through European universities.

 

"METAPHYSICA": -

The “Metaphysics” is considered to be one of the greatest philosophical works. Its influence on the Greeks , the Muslim philosophers, the scholastic philosophers and even writers such as Dante, was immense. It is essentially a reconciliation of Plato's theory of Forms that Aristotle acquired at the Academy in Athens, with the view of the world given by common sense and the observations of the natural sciences. According to Plato, the real nature of things is eternal and unchangeable. However, the world we observe around us is constantly and perpetually changing. Aristotle’s genius was to reconcile these two apparently contradictory views of the world. The result is a synthesis of the naturalism of empirical science, and the rationalism of Plato, that informed the Western intellectual tradition for more than a thousand years.

At the heart of the book lie three questions. What is existence, and what sorts of things exist in the world? How can things continue to exist, and yet undergo the change we see about us in the natural world? And how can this world be understood?

 

WILLIAM OF MOERBEKE: -

William of Moerbeke, (215-35 – c.1286), was a prolific medieval translator of philosophical, medical, and scientific texts from Greek language into Latin, enabled by the period of Latin rule of the Byzantine Empire. His translations were influential in his day, when few competing translations were available, and are still respected by modern scholars.

 

Probably at the request of Thomas Aquinas, he undertook a complete translation of the works of Aristotle directly from the Greek or, for some portions, a revision of existing translations. The reason for the request was that many of the copies of Aristotle in Latin then in circulation had originated in Spain from Arabic whose texts in turn had often passed through Syriac versions rather than being translated from the originals.

sometimes you do something just because you can. I really hate spiders, but I can't help but want to take photos of them when the opportunity presents itself.

Balthasar de Monconys (1611-1665) was a French physicist and judge, born in Lyon. In 1618, Monconys' parents sent him to a Jesuit boarding school in Salamanca, Spain, as a plague had broken out in Lyon. Monconys was deeply interested in metaphysics and mysticism, and studied the teachings of Pythagoras, Zoroastrism, and Greek and Arab alchemists. From a young age, he dreamed of travelling to India and China. However, he returned to Lyon after finishing his studies. At the age of thirty-four years old he was finally able to leave behind the safety of his library and the theoretical speculation of the laboratory, and become a tireless traveller in Europe and the East.

 

Monconys travelled to Portugal, England, Germany, Italy, the Netherlands, Istanbul and the Middle East with the son of the Duke of Luynes. Even in his very first journey to Portugal, it is obvious that in each city Monconys is very soon able to connect with mathematicians, clergymen, surgeons, engineers, chemists, physicians and princes, to visit their laboratories and to collect “secrets and experiences”.

 

After Portugal, Monconys travelled to Italy, and finally departed to the East, to study the ancient religions and denominations, and meet the gymnosophists. In 1647-48 he was in Egypt. Seeking the Zoroasters and followers of Hermes Trismegistus, he reached Mount Sinai. In Egypt, the 17th century European was lost in a labyrinth of small and winding streetlets, and discovered different cults and religions, the diversity of ethnicities and their customs: Turks, Kopts, Jews, Arabs, Mauritans, Maronites, Armenians, and Dervishes. He followed several superstitious suggestions and discovered marvellous books of astronomy in Hebrew, Persian and Arabic. Later on, after his pilgrimage to the Holy Land, he crossed Asia Minor and reached Istanbul, from where he planned to travel to Persia. For once more in his life however, the plague forced him to change his course; he left for Izmir, and returned to Lyon in 1649.

 

Fron 1663 to 1665 Monconys travelled incessantly between Paris, London, the Netherlands and Germany. He visited princes and philosophers, libraries and laboratories, and maintained frequent correspondence with several scientists. Finally, after consequent asthma attacks he passed away before his travel notes could be published.

 

His travel journal (1665-1666) was edited and published by his son and by his Jesuit friend J. Berchet. The journal is enriched by drawings which testify to the wide scope of Monconys' interests. Monconys collected a vast corpus of material which includes medical recipes, chemistry forms, material connected to the esoteric sciences, mathematical puzzles, questions of Algebra and Geometry, zoological observations, mechanical applications, descriptions of natural phenomena, chemistry experiments, various machines and devices, medical matters, the philosopher's stone, astronomical measurements, magnifying lenses, thermometres, hydraulic devices, drinks, hydrometres, microscopes, architectural constructions and even matters connected to hygiene or the preparation of liquors.

 

The third volume includes a hundred and sixty-five medical, chemical and physics experiments with their outcomes as well as a sonnet on the battle of Marathon. There are five detailed indexes for the classification of the material. At the same time, this three-volume work permits the construction of a list of names (more than two hundred and fifty) of scholars, physicians, alchemists, astrologists, mathematicians, empirical scientists and other researches. From Monconys' text and correspondence a highly interesting network emerges, as it is possible for specialists of all disciplines to reconstruct the contacts between scientists and scholars of Western Europe, for a period spanning more than a decade in the mid-17th century.

 

Monconys' work is written in a monotonous style, but nevertheless possesses a perennial charm, as it is a combination of a travel journal and a laboratory scientist's workbook. The drawings accompanying the text make up a corpus of material unique in travel literature.

 

Written by Ioli Vingopoulou

 

Fransız asıllı fizikçi ve yargıç Balthasar de Monconys (1611-1665) (okunuş: Baltazar dö Monkoni) Lyon şehrinde doğar. Yaşadığı kentte 1618 yılında veba salgını baş gösterince, ailesi onu Salamanka şehrine bir Cizvit yatılı okuluna gönderir. Metafizik ve gizemcilik (mistisizm) için yoğun ilgi duyan Monconys, Pythagoras öğretilerini, Zerdüştlüğü, hatta Yunan ve Arap simyacıların eserlerini okur. Daha küçük yaştan beri Hindistan ve Çin'e kadar ulaşmayı düşlemesine karşın eğitimini tamamladıktan sonra Lyon'a geri döner ve nihayet 34 yaşındayken kütüphane güvenliğini ve teorik laboratuvar bilgilerini terkedip kararlı bir biçimde Avrupa ve Doğu'ya seyahat etmeye başlar.

 

Monconys, Luynes dükünün oğluyla birlikte Portekiz, İngiltere, Almanya, İtalya, Alçak Ülkeler (Hollanda), İstanbul ve Orta Doğu'ya seyahat eder. Daha ilk yolculuğundan (Portekiz'de) uğradığı her şehirde kısa zamanda matematikçi, rahip, cerrah, mühendis, kimyager, doktor ve prens gibi çeşit çeşit insanlarla bağ kurup laboratuvarlarını ziyaret ederek "sır ve tecrübeler" derler. Yazdığı metinde bu süreci izlemekteyiz. Portekiz'den sonra ilk kez olarak İtalya'ya gider ve nihayet çeşitli dogmaları, eski dinleri ve "gymnosophist"leri (çıplak bilgeler) incelemek üzere Doğu'ya doğru yola çıkar. 1647-48 yıllarında Mısır'da bulunmaktadır; Zerdüştçüler ve Hermes-Thot (Hermes Trismegistus) müritleriyle karşılaşmak için Sina dağına kadar ulaşır. Mısır'da 17. yüzyılın bu Batı Avrupalısı daracık sokakların oluşturduğu labirent içinde yitip, türk, kıptî, yahudî, arap, moritanyalı, maruni, ermeni, derviş gibi binbir çeşit dogma ve mezhep, milliyet ve kültürel adet keşfeder. Batıl inançlara uyar, ibranice farsça yada arapça dillerinde yazılmış şahane gökbilim kitapları keşfeder. Kutsal Yerlere hacılık ziyaretinin ardından Anadolu'yu boydan boya geçip İstanbul'a varır. Buradan İran'a gitmeyi planlar. Ancak veba salgını bir kez daha onu kaçmaya zorlar; İzmir'e geçip oradan 1649 yılında Lyon'a döner.

 

Monconys 1663'ten 1665'e kadar hiç ara vermeden Paris, Londra, Hollanda ve Almanya arasında mekik dokuyup prens ve filozoflarla konuşur, çeşitli kütüphane ve laboratuvarları ziyaret eder ve birçok bilim adamıyla yoğun bir mektuplaşma sürdürür. Ancak sonunda üstüste geçirdiği astım krizlerinden sonra seyahat notlarının kitap olarak basılmış halini göremeden ölür.

 

Sözkonusu yayın (1665-1666) Monconys'nin oğlu ve dostu Cizvit rahip J. Berchet tarafından hazırlanmıştır. Monconys'nin geniş bir ilgi alanına sahip oluşu günlüğünü tamamlayan desenlerle kanıtlanmaktadır. Derlemiş olduğu çeşitli ve zengin malzeme içinde: ilâç reçeteleri, kimyasal formüller, gizli ilimlerle ilgili malzeme, matematik bilmeceleri, cebir ve geometri problemleri, zoolojiye (hayvan bilimi) ilişkin gözlemler, mekanik uygulamalar, doğa fenomenleri betimlemeleri, kimyasal deneyler, makineler, tıp konuları, felsefe taşı, astronomi ölçümleri, büyüteçler, termometreler, su tesisatıyla ilgili cihazlar, içkiler, hidrometreler, mikroskoplar, mimarî yapılar, hijyen ve likör yapımı gibi konular var.

 

Kitabın üçüncü cildinde işlenen konular arasında 165 tane fizik kimya ve tıp deneyi ve sonuçları, ve Maraton muharebesi hakkında bir sone yer almaktadır. Bu içeriğin sınıflanması için kitaba beş tane ayrı çözümlemeli dizin eklenmiştir. Aynı zamanda, Monconys'nin üç ciltlik eserinden upuzun bir isimler katalogu da (250'den fazla isim) elde edilebilir. Bu isimler yazar ve düşünür, doktor, simyacı, astrolog, matematikçi, deneyci ve çeşitli uzman araştırmacılara aittir. Monconys'nin metninden ve mektuplaşmalarından, 17. yüzyıl ortalarında özellikle batı Avrupa'da, 20 yıldan fazla bir süre için, tüm bilim uzmanlarının yeniden birleştirebileceği son derece ilginç bir bilimler arası ilişki ağı ortaya çıkmaktadır.

 

Monconys'nin yazış uslubu tekdüze olmakla birlikte, bir laboratuvar araştırmacısının seyahat günlüğü ile gözlem defterini bir arada bulundurması açısından eşsiz bir cazibeye sahiptir. Metne eşlik eden desenler seyahat edebiyatı yayınlarında rastlanan ender türden bir malzeme oluşturmaktadır.

 

Yazan: İoli Vingopoulou

 

A4, 2019

  

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A building in piazza Cinque Giornate. Or in deep space.

(unknown models)

This is the 3rd of 9 images of a wonderful stone from India that I first saw a few years ago and had not purchased any until this year. These are the giant ones, you can tell by the size of the wood pallets these rest on outside the vendor tent. Seen at the Tucson Rock and Gem Show, venue at the Ramada Ltd. My favorite image of this series is this one, a view from farther away than the above image shows.

 

Some of these images are quite beautiful to me and faithfully capture how I saw them displayed this year. This stone is one of my favorites. For a mere $400 or so I could have brought it home with me. Each photo has another link and detail added to the description. All are part of the set I have started for this year's show.

 

en.wikipedia.org/wiki/Lingam

 

This is an article about the Narmada River, where these stones are found:

en.wikipedia.org/wiki/Narmada_River

 

Sadly this is an area that is the site of major dam construction! This article gives details about how these stones are found and prepared:

www.hinduismtoday.com/archives/1989/08/1989-08-04.shtml

 

A metaphysical crystal dealer's link:

www.bellbookandcandle.citymaker.com/catalog/item/1256874/...

  

The Blessing

 

is the moment of sunsplashed brilliance,

the walking-in by chance at the time

of greatest need. The blessing is swallows

alive from Africa, cavorting in English sky.

 

The blessing is a surprise, like luminescence

seen from a boat at night, between islands,

and the way it rises on the swell, the shallows

all aglow with it, the tide a woman’s sigh.

 

The blessing doesn’t choose. Its substance

is just bestowed. We have no right.

The blessing is the rustling of willows

when dawn comes, and mayflies love and die.

 

We are much in need of blessing. Its essence

will not distil: it evaporates if we try.

It’s lurking in shadows; it skulks in hollows.

It weeps, yet bids us fly.

 

Poem by Giles Watson, 2013. Filmed at Compton Beauchamp church, Oxfordshire.

 

Here is a sculpture serving up a bit of a metaphysical joke: While we usually look to a car as shelter from the rain (hailing a taxi to get out of a downpour, for example). Rainy Rolls 2010 turns expectations inside out, enclosing inclement weather in a shiny, motorized thundering tempest. Acknowledging Salvador Dali's sense of serious play, this piece inspires wry smiles while touching on something darker -unconscious fears of drowning and or claustrophobia.

The Dali Museum is grateful to the Tampa Bay Automobile Museum for the engineering. design and long-term loan of this reinterpretation of one of Dali's greatest surrealist objects. Dali very early on understood the enduring appeal and romanticism of the car and figured automobiles into many of his works. The founders of the Tampa Bay Automobile Museum share twin passions for the automobile and the art of Salvador Dali, which here. with the Rainy Rolls, intersect.

With the gracious authorization of the Fundacio Gala-Salvador Dali in Figueres. Spain, The Dali pays homage to Dali's Rainy Taxi, which he created for the 1938 International Surrealist Exhibition in Paris. Dali revisited this work for his Venus pavilion at the 1939 NY World's Fair. where he presented NYC Rainy Taxi. At the Dali Theatre-Museum in Figueres. he made a permanent installation of this work using a 1940 Cadillac. The Dali Museum continues to explore Salvador Dali's art as a reference for emerging artists of successive generations. Each era has its own Dali. We thank artists Kevin Brady, Vickie Brunner, Montserrat Cerf and project director Yvonne Marrullier for the collaborative creation of the mannequins presented in this work. Source: The Dali Museum, Saint Petersburg, Florida, United States of America

The Engineer’s Mistress (L’amante dell’ingegnere), 1921

Oil on canvas, 55 x 40 cm

Gianni Mattioli Collection

Long-term loan to the Peggy Guggenheim Collection, Venice

© Carlo Carrà, by SIAE 2008

 

This powerful and strange small painting closed the period of Carlo Carrà's ''pittura metafisica,'' of which he was one of the leading exponents together with Giorgio de Chirico.

Although evidently a mere sculpture, the upright female head is invested with an aura of semi-consciousness, as if hypnotized—the eyes closed but the mouth open in readiness to speak. The preternaturally long neck appears frequently in Carrà's work prior to this. Certainly the tension between the dead and the live in an indeterminate interior-exterior space and in a pre-dawn light evokes a Metaphysical dream state with masterly brevity. No explanation of the title has ever been given. To suggest that the square and compass represent the engineer's profession and the plaster head his secret life impoverishes the richly evocative mystery of the painting. The goal of Metaphysical painting was to make ordinary objects transcend reality and induce an elevated state of consciousness.

Androgynous

Androgyne & Chimpanzee (F.A. VIII) Apocalypse Now - Artist: Leon 47 ( Leon XLVII )

 

A Tribute to Mary Ellen Mark / Francis Ford Coppola

Thanks to Rosalinda Celentano / Marlon Brando

 

Dymanic Modern Minimal Portrait Painting from Portrait Fashion Photography

Oil on Canvas

 

Androgino e Scimpanzé |

Androgynous & Chimpanzee, Apocalypse Now |

Futuro Antico, Antique Future |

 

Triangulism Art, Triangolismo |

Arte Metafisica, Metaphysics, Enigma |

Individualism, individuality, Individualismo |

Humanism, Umanesimo |

Expressionism, Espressionismo |

Surrealism Surrealismo |

Abstract Art, Arte Astratta |

Minimalism, Minimalismo |

 

Giorgio de Chirico

Arnold Böcklin

Arthur Schopenhauer

Friedrich Nietzsche

 

Leon XLVII, Artwork to Sell by Artist

Buy Original & Print Drawing / Painting / Sketch

 

Manhattan, New York, NY | Hartford, CT | USA

 

Impressionismo, Impressionism

 

www.leon47.com/futuro-antico-antique-future-xlvii

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(This image can also be seen on reno.metromix.com)

For more information about my craft, please visit my profile page.

MIDNIGHT STROLL is a 175 carat handcrafted Picasso Jasper pendant that I created swirling and shaping gunmetal copper wire by hand, adding gray catseye chips and black agate beads to enhance the natural beauty and shape of the stone. This gray and black jasper stone has a glass-like finish making this pendant a very earthy and dramatic piece of wearable art.

 

It measures 2" across and 2 3/4" top to tip including the bail.

 

The bail is designed to be large enough to accommodate your favorite chain, choker or cord. An adjustable 17" black leather cord necklace is included.

 

All purchases are nicely packaged in a gift box.

 

The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.

 

Jasper's healing effects:

Jasper is the stone of selflessness; it is the mother of all stones bringing about love of all mankind. For emotional, mental and physical pain, it is a grounding and healing stone. Jasper makes its effects known slowly and gradually, just like nature. It's considered an emotionally calming stone, and can be an excellent stone for either those who are hypersensitive to crystalline energy and find it difficult to work with, or for those who like change to be a gradual, unfolding process. It has been called the supreme nurturer, reminds us there is more that surrounds us than ourselves, protect from negativity, helping to ground us, balances yin yang and assists us during astral travel. Helps to align and cleanse our Chakra's and Aura. It helps to balance the physical, emotional and intellectual bodies with the etheric energies. It is said to have been worn by priests and kings and used in a ceremonial way in Native American traditions. This stone increases determination in all pursuits and aids quick thinking. It also reminds one to be honest with oneself and to help others.

 

This may be discouraging for atheists, but in accordance with the latest definitions of "atheism" by the most respected sources, atheism is illogical. It's important to use the most accurate and reputable definitions. While you probably shouldn't use a Black and Decker drill as a tool to perform medical surgery, you also probably shouldn't use Webster's dictionary for philosophical definitions, if you have philosophical sources available.

 

Definitions of "atheism":

 

"Atheism’ means the negation of theism, the denial of the existence of God." (Stanford Encyclopedia of Philosophy).

 

"The theory or belief that God does not exist." (Oxford Dictionary of Philosophy)

  

Why Atheism is Illogical

 

Summary Argument

 

1) With respect to agnosticism, if atheism means, "the negation of theism" and the “denial of God's existence,” and history shows that there is no convincing evidence to demonstrate that theism and God have been negated and denied, then choosing atheism is illogical.

 

2) History shows that atheists have not logically demonstrated probability that theism and God have been negated and denied.

 

3) Therefore, with respect to agnosticism, choosing atheism is illogical.

  

Expanded points

 

1. The burden is on those who wish to affirm a belief or position to offer reason and evidence in support of such.

 

2. According to Stanford, "Atheism means the negation of theism, the denial of the existence of God." And Oxford defines atheism as, "The theory or belief that God does not exist." - with both definitions implying a positive claim is being assumed, as opposed to agnosticism, in which a lack of belief is emphasized.

 

3. Philosophical definitions of "atheism" in context are more appropriate than a generic description as, "a lack of belief in God" - which also could apply to agnosticism.

 

4. In terms of logic, the atheist truth claim, “God does not exist,” is not an analytic truth claim and is not strictly provable. Likewise, the truth claim of atheism is not a synthetic one because it cannot be strictly demonstrated. For these reasons, atheism cannot be strictly proved.

 

5. In terms of probability, it is not enough to critique the theist fine tuning argument. To prove atheism is superior atheists need to provide a superior probability argument, among other things. If you search the Internet, you will most likely find as I did that "probability argument for atheists" turns up only probably arguments for theists, as criticized by atheists, which is not adequate.

 

6. In terms of metaphysics and metaethics, the belief that science has all the answers is not empirically demonstrable and is logically weak, however, top atheist authorities, such as Hawking and Dawkins, lean toward positivism. In comparison to theism, answers to many important metaphysical questions and convictions remain unresolved and incoherent for atheists in general.

 

7. The atheist may claim that belief in theism and God should be dismissed as ludicrous or undefinable, but some of the greatest minds in science and philosophy have believed in God and defended theism with logic and reason, and the background of arguments for God remain a challenge to atheists.

 

8. Pursuant to points 1 to 7, theism and God's existence can neither be lightly dismissed nor effectively disproved. In contrast to theism, the lack of atheist answers to important metaphysical questions reveals a lack of holistic efficacy for atheists. Therefore, with respect to authoritative definitions of “atheism” and “agnosticism,” atheism is illogical.

 

Constructive Affirmation

 

A first criticism of the above points may be the definition of “atheism” used in point two. However, the Stanford Encyclopedia of Philosophy is considered authoritative and this definition is required for the disambiguation of atheism and agnosticism.

 

Point four underscores that atheism cannot be strictly proved with logic. The truth claim, “No bachelor is married” is an analytic truth claim that demonstrates logical certainty, without the need to actually observe a bachelor. The phrase “married bachelor” is clearly negated as a logical contradiction. The truth claim, “God does not exist” offers no such analytical foothold. And by contrast, synthetic truth statements cannot be determined based solely on logic, and are based on experiences that contingently true. However, unlike analytic truth, synthetic truth cannot be determined absolutely. The PhilosophyOTB website reviews this problem for atheists in depth with four essays.

 

In terms of probability, it's not enough to merely nitpick the theist fine tuning argument. To affirm and effectively demonstrate that atheism is superior, a superior and highly convincing probability argument in favor of atheism must be presented. A cursory search for "probability argument for atheists" only turns up probability arguments for theists. Any atheist is free to post any such argument at my blog comments, if they have one.

 

In terms of metaphysics, many authoritative atheists today, such as Hawking and Dawkins, lean towards logical positivism, which basically denies metaphyscs outright. The positivist belief that science has all the answers, however, has been rejected by authoritative secular philosophers, with descriptions of, “Logical positivism's fall,” that, “nearly all of it was false," that it is now, “dead, or as dead as a philosophical movement ever becomes". If anyone believes that positivism has been convincingly reused, please post a link in the comments of this post. As has been pointed out, logical positivists may claim: “All statements that can't be empirically verified are meaningless.” But critics can reply: “It's impossible to empirically verify that claim!” Logical positivism is the philosophy that emphasizes a need for verified “meaning: and cannot verify that its own statements are meaningful. The inefficacy of positivism has been described by a blogger: “What is surprising about logical positivism as outlined by Wittgenstein, is that any representation – whether picture, sound recording or text – should make sense only to the extent to which we can split it into individual statements about what is the case...” Obviously, a picture can make sense and convey intended meaning without the analytical dissection of each element. Three objections to positivism are noted at this linked blog, with no apparent rebuttal. The late Karl Popper claimed, "A theory that explains everything, explains nothing." He was emphasizing that positivism, claiming to explain everything by verification, was in itself unverifiable and incoherent.

 

Wittgenstein also elucidated the folly of logical positivism. He underscored that ethical issues are not verifiable for positivists and are of a transcendent nature. Ethical questions result in incoherent answers from secular atheists. For example, I've found that secular atheists generally have a moral conviction that bestiality is immoral. They seem to always claim that animals should be able to give consent before engaging in any sexual physical pleasure with humans. Yet, the same people will claim that animals do not need to offer consent before they are slaughtered, butchered and consumed (by these very people)! Atheists cannot refute claims of personal religious experience, cannot explain how immaterial minds came from material substance, or how peer-reviewed dislocated mind-body near death experiences could possibly occur. Scott Youngren elaborates on a number of these metaphysical problems for atheists and why Ockham’s Razor ultimately supports theism rather than atheism. The challenge for the atheist is to provide cogent answers to metaphysical questions that are more convincing than explanations and arguments from theists.

 

The Stanford Encyclopedia of Philosophy outlines the historical philosophical background behind the valid claim that, "Faith and reason are both sources of authority upon which beliefs can rest." underscoring that, "Reason generally is understood as the principles for a methodological inquiry, whether intellectual, moral, aesthetic, or religious. Thus is it not simply the rules of logical inference or the embodied wisdom of a tradition or authority."

 

Point seven is important because there is a trend among New Atheists these days to try to dismiss theism and God's existence based upon shallow and illogical excuses. For example, there are at least seven reasons why Richard Dawkins' excuses for not debating William Lane Craig are illogical. Likewise, defending his "Evil God Challenge," Stephen Law has make the false claim that it is not necessary for atheists to overcome the stronger theist arguments in order to validate atheism. Craig describes Law's illogical position: "In the debate, Law made the remarkable claim that the cosmological and teleological arguments are not even part of a cumulative case for theism! This is clearly wrong."

 

A brief search of the Internet reveals that popular atheist sites offer sophistry as an alleged defense of atheism. Examples include this statement: "If God is omnipotent, is it possible to create a rock so heavy that it cannot be lifted by God?" or this one: "Can you present your logical "proof" against any other God than your own?" Matt Slick outlines that the first example is a weak objection because, "...God cannot do something that is a violation of His own existence and nature." The second question is an evasive tactic. As shown by the disambiguation of "atheism" and "agnosticism" from the Stanford Encyclopedia of Philosophy, the onus is on the atheist to positively negate theism and to deny God's existence, or, to accept the alternative, to take a stance of agnosticism. For the theist, the request for "any other God" is incoherent, because God is logically a singularity. See the latter argument in this post disproving polytheism.

 

The Christian apologist C.S. Lewis offered, “If the whole universe has no meaning, we should never have found out that it has no meaning.” This offers a valid epistemological challenge to atheists. The Stanford Encyclopedia of Philosophy has outlined that faith and reason are both sources of authority, with regard to a holistic approach towards understanding meaning, significance, ethics, aesthetics and other poignant subjects.

 

With regard to authoritative definitions, atheism is illogical and agnosticism is more of a logical position for skeptics of theism. I believe that Christianity offers the most logical conclusion with the most explanatory power. If any atheist wishes to challenge the points outlined, please post in the comments or a link to your rebuttal.

 

Why Polytheism is Illogical

 

1. Polythieism is defined as, "The belief in, or worship of, many gods" (Oxford Dictionary of Philosophy)

 

2. A god is defined as a being or object believed to have more than natural attributes and powers and to require human worship; specifically : one controlling a particular aspect or part of reality.

 

3. As a conceptual possibility, a god must be either eternal or not eternal.

 

4. Something eternal can be considered as literally "perfect" while something created cannot.

 

5. Something eternal and perfect in many qualities would be dynamically perfect and superior.

 

6. Many gods cannot conceptually be eternal and dynamically perfect because this would pose a problem for the law of identity, where A = A, where existence equals essence, because eternal dynamic perfection cannot be shared by separate entities.

 

7. It would be incoherent to propose one god with one will with perfect authority if another separate god with a separate will had perfect omniscience and perfect omnipotence and omnipresence, this is because the "perfection of cohesion" and unity cannot be obtained by one god or shared across the wills of many gods.

 

8. Ultimately, if "perfect perfection" literally exists, it must exist as a transcendent dynamic perfection, as a singularity, as the prime authority and prime mover.

 

For those that would offer that the Trinity represent many gods, this is a misunderstanding. The Trinity does not represent many gods with separate wills, but one God of three aspects.

 

templestream.blogspot.com/2016/06/why-atheism-and-polythe...

  

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johannazambrano: @pattyg0802 Look at this! This is the Terrazza Mascagni 😉 What do you think? 😘

 

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Visit this location at Echoes, Metaphysics of frequencies in Second Life

There is an urge set deep in our soul that gives some of us the curiosity to take the route presented, others to stay on familiar paths and some to continually seek further. There are those among us who are always striving to be moving whilst some are ready to fix their roots. Never before now have we had such varied opportunity for travel on the face of our earthly abode. We also have open more routes to commune with character beyond the face of whose body we are made and from whose surroundings we are inspired to reach out with our hearts and minds to the very edge of all that we perceive.

 

PHH Sykes copyright 2018

phhsykes@gmail.com

 

Metaphysics is a branch of philosophy concerned with explaining the fundamental nature of being and the world.

 

"What is there?"

 

Well, it would appear there are socks. Not really what we've expected.

Dunkan again

Something was looking at us from that window.

"Will that octopus try and grab the building?"

Fooling around. I don't know whether this still qualifies as metaphysical.

The referral to the movie is half-serious.

Milano, March 2006

Sarajevo City of Light; Girl and Death,

SARAJEVO WAR 1992; Gateway of Hell,

BOSNIA in Tragic WAR,

POETIC Beauty and Strength of the Human Spirit,

FROM OPUS; Sarajevo City of Light,

ARTIST Mirza Ajanovic Fine ART Photography,

Observation of physical and psychological reality; while ... acutely observed realism brought a new level of emotional intensity, Symbolism, Metaphysics ART, City Life, Perception beyond Appearance’s,

Artist MIRZA AJANOVIC Photography, POETIC Photography,

   

I am not sure what this place is. The name is confusing. I think it is some sort of church. People are always there on Sunday mornings. It is on Southern Avenue in the Massey Hill neighborhood of Fayetteville in Cumberland County, North Carolina.

ice magazine

Contemporary Istanbul art fair 2013

Guardians of Time by Manfred Kielnhofer page 41-45

Toplumsal Sanat ve Güncel Dinamikleri

İstanbul bir Laboratuvar mı?

Hasan Bülent Kahraman

 

Social Art and

 

Its Contemporary Dynamics

 

Is Istanbul a Laboratory?

 

Hasan Bülent Kahraman

 

The transition from the twentieth to twenty-first century did not only

refer

 

to a temporal continuity and it wasn't happening by nature. Continuity

 

of time was going to bring us to the twenty-first century anyway. On the

 

other hand, the twenty-first century was also bringing us to the concept

 

of "millennium," which had an importance in Western metaphysics.

 

Since human relationships are based on transforming nature on a cultural

 

platform through intellectual effort, and humanity struggles to overcome

 

and restrain the nature on these levels, the twentieth century gives way to

 

the twenty-first century on the verge to a profound intellectual break.

 

During the transition to the twenty-first century, the most important issue

 

was the great criticism against the idea of modernity and the grand split

 

it undergoes. During the twentieth century, using different methods, all

 

nations agreed on the notion of modernization that was in some sense

 

developed as the homogenization of humanity and can be summarized

 

as installing Western metaphysics into 'outsider' societies but the result

 

was the same: a systematic formation that prioritizes and is led by the

 

government. This transformation would be based on two big pillars:

 

refusal of the past, along with the complete cultural baggage if necessary,

 

and the reconstruction of the subjects, the human beings towards the

 

guidance of the government.

 

This method, which can be described as the abolition of the subject,

 

made it natural for the great totalitarian regimes to appear. The twentieth

 

century means millions of people abolished by those regimes.

 

During the evolution towards the twenty-first century, the first

 

protestations were against the hegemony of the radical rationality

 

that had built this system. Because, post-Weber bureaucracy with a

 

government and organon was the concentration point of rationality. In

 

the end, the Cartesian radical rationality was the imprisonment of human

 

consciousness in the human consciousness itself. With this appreciation,

 

science as a tool to control nature had turned into a superior category

 

that left no space for the subjectivity of the individual.

 

The re-emergence of the subject, and its desire to bring forward the sum

 

of values hidden inside it is a problem of identity. Of course, politics of

 

memory and space can be added to that. The Proust-esque memory as

 

'remembering today' and the coincidences and spontaneities that makes

 

it work was replaced by a remembering policy that offered multiple

 

choices and multiple consciousnesses. A Bergsonian integrity of time

 

was no longer needed either.

 

Within this new appreciation, subjects were the individuals who would

 

build their own existence with their own willpower.

 

Such an assent did not only drive back the notion of state, but it also

 

brought forward the notion of publicum, the sense of community. This

 

innovation begins with the replacement of the notion of society with

 

societies. We can also call these communities. Once the communities

 

emerged, spatial politics changed firstly. The vertical depth of the space

 

that contained the homogeneous and uniform humans now was going

 

to be replaced with a horizontal span that meant varieties living together.

 

These varieties living together in a narrow area without conflicting but

 

"rubbing" to each other created the new forms of social space.

 

On the other hand the space the communities have been created is now

 

only topological, it's not a notion that directly belongs to the "ground."

 

The twenty-first century has unexpectedly found itself in an almost scary

 

virtuality with the innovations electronic media has created. The "crowd"

 

Plato heavily criticized in the context of "theatricality" in his last

dialogue

 

Nomo, is not only in the amphitheatre or agora anymore. It is everywhere.

 

Furthermore, what's produced now is not "common thoughts" anymore;

 

it is the "uncommon" thoughts.

 

What does art represent in this structure?

 

The answer is hidden in two points. First, this stadium is a matter

 

of democracy. A pluralist democracy that is based on varieties and

 

nourished by interaction is not a utopia but a reality for the twenty-first

 

century. Secondly, if we can talk about this kind of democracy, then the

 

relationship between art and community will also turn into another phase.

 

The new phase of the relationship between art and community makes

 

the visibility of art inevitable. As a form of production that is pluralist

 

and based on varieties, art is the reference point of this new sense

 

of community. This new sense of community cannot evolve naturally

 

by itself. It needs to important devices to align and direct. Intellectual

 

production and its alignments and directions are the constative powers of

 

artistic expression. The new democracy has to be inspired by democratic

 

theory and though on every step. Similarly the dynamic and constantly

 

changing texture of art is necessary for the formation of an astatic

 

democratic platform. This pursuit emerging within the new urban texture

 

is a matter in itself.

 

The new global capital is building new cities. This is a new urban texture

 

that allows the inner movement and liquidity of the capital. The most

 

important aspect of the new city is that it is gentrified. This is not a

choice

 

but a need in terms of the new capital, because the new city is also the

 

realization of a certain aesthetic visuality.

 

Performing gentrification through new artistic institutions is a wise

choice.

 

The income produced by new museums, art spaces and galleries is a

 

planned and systematic application. This means that art creates a new

 

policy of circulation on the grounds of the city. This art that meets the

 

expectations of upper classes still has its own critical, social identity.

 

More importantly, art should interrelate with large communities. That

 

kind of art will have the real critical power. That kind of art is a field

of

 

resistance itself. With this aspect, it is sure that the relationship

between

 

art and community will appear as opposition and resistance. A "real"

 

democracy is only real as long as it gives the opportunity to oppose

 

and resist. This is why the relationship between art and community is a

 

necessity and expectation today, more than ever.

 

Having the characteristics of a metropolis in any aspect, Istanbul

 

is an important laboratory in this sense. The capital it attracts, the

 

transformation it undergoes, and finally the artistic activity and

production

 

articulated to these turns Istanbul into a new focal point that needs to

 

be observed in a new way. It is sure that we are witnessing a phase that

 

the relations between capital and politics are turning into the relations

 

between capital and art. But the real question is, within the

gentrification

 

it undergoes, how much place Istanbul will give to artistic discourse. Will

 

this art form a platform of resistance in the social grounds that remains

 

from the transformation areas with a global architectural language; or

 

will those "new" areas actually open a door for the pluralist, variable,

 

provocative art?

 

A city, which has never been close to the language of social art in any

 

way, even today, is going to determine its character as much as it

 

answers these questions while it globalizes.

 

icemagazine.contemporaryistanbul.com/files/document/ice-1...

 

contemporaryistanbul.com

kundtundhandel.com

licht-*christoph*.at

kielnhofer.com

 

Toplumsal Sanat ve Güncel Dinamikleri

 

İstanbul bir Laboratuvar mı?

 

Hasan Bülent Kahraman

 

20. yüzyıldan 21. yüzyıla geçiş sadece zamansal bir sürekliliğe işaret

 

etmiyor ve bir doğallıkla gerçekleşmiyordu. Zamanın kendi sürekliliği doğal

 

olarak bizi 21. yüzyıla taşıyacaktı. Kaldı ki, 21. yüzyıl aynı zamanda Batı

 

metafiziğinde çok önemli bir yeri olan "bin yıl" kavramına da açılıyordu.

 

İnsan ilişkileri doğallığın kültürel bir platformda ve zihinsel çabalarla

 

dönüştürülmesine dayandığından ve bütün insanlık çabası o doğallığı bu

 

düzlemlerde aşmak, hatta dizginlemek olduğundan 20. yüzyıl yerini 21.

 

yüzyıla çok derin bir düşünsel kırılmanın eşiğinde bıraktı.

 

21. yüzyıla girilirken en önemli olgu modernite düşüncesinin aldığı

 

büyük eleştiri ve yaşadığı büyük parçalanmaydı. Bir manada insanlığı

 

homojenleştirme olarak geliştirilmiş ve Batı metafiziğinin "dışarıdaki"

 

toplumlara yerleştirilmesi olarak özetlenebilecek bu modernleşme

 

anlayışını, her ulus 20. yüzyıl boyunca belki farklı yöntemlerle kabul etti

 

ama sonuç aynıydı: devlet öncelikli ve devlet önderliğinde sistematik bir

 

dönüşüm. Bu dönüşüm iki büyük taşıyıcı üstüne oturacaktı: geçmişin,

 

gerekirse bütün kültürel bagajla birlikte reddi ve öznenin yani insan

tekinin

 

devletin güdümü doğrultusunda yeniden kurgulanması.

 

Öznenin ortadan kaldırılması olarak da adlandırılabilecek bu metot

 

büyük totaliter rejimlerin çıkmasını doğallaştırıyordu. 20. yüzyıl o

rejimler

 

tarafından ortadan kaldırılmış milyonlarca insan demektir.

 

21. yüzyıla evrilirken ilk itiraz bu sistematiği kuran radikal

rasyonalitenin

 

hegemonyasına yönelikti. Çünkü, Weber sonrasında devlet ve organon'u

 

olan bürokrasi rasyonalitenin temerküz noktasıydı. Descartesçı radikal

 

rasyonalite son kertede insan bilincinin, gene insan bilincine tutsak

 

edilmesiydi. Doğayı kontrol aracı olarak öne çıkan bilim bu anlayışta

 

bireyin öznelliğine yer bırakmayan bir üst kategoriye dönüşmüştü.

 

Öznenin yeniden ortaya çıkması ve kendisinde saklı olan değerler

 

bütününü öne almak istemesi bir kimlik problemidir. Buna elbette hafıza

 

ve mekan politikaları eklenebilir. "Bugünde hatırlamak" olan Proustgil

 

hafıza ve onun işlemesine olanak sağlayan tesadüfler, kendiliğindenlikler,

 

yeni anlayışta çok seçmeci ve çok bilinçli bir anımsama politikasıyla terk

 

ediliyordu. Artık Bergsoncu bir zaman bütünlüğüne de gerek yoktu.

 

Özne kendi varlığını kendi iradesiyle kuracak kişiydi yeni algı içinde.

 

Böyle bir kabul sadece devlet kavramının hızla geri itilmesine yol açmakla

 

kalmadı. Publicum yani toplumsallık (Türkçedeki yanlış çevirisiyle

 

'kamusallık') olgusunu da yeniden öne itti. Bu yenilenme daha önceki

 

anlayışta tek olan toplum/kamu kavramının yerini toplumlar kavramına

 

bırakmasıyla başlar. toplumlar dediğimiz şeye topluluklar (communities)

 

demek de mümkündür. Topluluklar bir kere ortaya çıktı mı ilk elde mekan

 

politikaları değişecekti. Mekanın homojen ve üniform insanı barındıran

 

dikey derinliği şimdi yerini farklılıkların bir arada bulunması anlamına

gelen

 

bir yatay genişliğe bırakacaktı. Dar bir alanda birbiriyle çatışmayan ama

 

birbiriyle "sürtünen", öylelikle de etkileşen farklılıkların bir arada

bulunması

 

toplumsal alanın yeni formlarını meydana getiriyor şimdi.

 

Buna mukabil toplumsalın oluştuğu mekan artık sadece topolojik,

 

doğrudan doğruya "yere"/zemine ait bir olgu değil. 21. yüzyıl hiç

 

beklemediği bir şekilde kendisini elektronik medyanın sağladığı

yeniliklerle

 

birlikte neredeyse ürküntü veren bir sanallık içinde buldu. Plato'nun

 

"tiyatrosallık" bağlamında, son diyaloğu Nomo'ide şiddetle eleştirdiği

 

"güruh" şimdi sadece amfitiyatroda veya agora'da değil. Her yerde.

 

Sadece tiyatroya gidenler arasında değil iletişim ve ortak düşünce

 

oluşturma yetisi. Her yerde. Üstelik üretilen artık "ortak düşünce" değil

 

"ortak olmayan" düşüncelerdir.

 

Böyle bir yapı içinde sanat ne ifade eder?

 

Sorunun cevabı iki noktada gizli. Birincisi, bu stadium demokrasiyle

 

ilgili bir meseledir. Çoğulcu, farklılıklara dayalı, karşılıklı

etkileşimlerden

 

beslenen bir demokrasi 21. yüzyılın ütopyası değil realitesidir. İkincisi,

 

eğer böyle bir demokratik durumdan söz açılabiliyorsa, o takdirde, sanat-

 

toplumsallık ilişkisi de yeni bir evreye geçecektir.

 

Sanat-toplumsallık ilişkisinin yeni evresi sanatın görünürlüğünü

 

kaçınılmazlaştırıyor. Kendisi çoğulcu, kendi içinde farklılığa dayalı bir

 

üretim olan sanat, bu özellikleriyle, yeni toplumsallığın nirengi

noktasıdır.

 

Yeni toplumsallık kendi kendine, doğal bir şekilde gelişemez. İki önemli

 

hiza ve istikamet aracına ihtiyaç duyar. Zihinsel üretim ve ona bağlı

 

düzeltmeler, yol göstermelerle sanatsal ifadenin saptayıcı gücü. Yani, yeni

 

demokrasi her aşamada demokratik kuram ve düşünceden bazı esinler

 

almak zorundadır. Aynı şekilde sanatın dinamik ve sürekli değişen dokusu

 

statik olmayan bir demokratik platformun oluşması bakımından zaruridir.

 

Böyle bir arayışın yeni kentsel doku içinde can bulması başlı başına bir

 

konu olacaktır.

 

Yeni ve küresel sermaye yeni kentler inşa ediyor. Sermayenin iç hareketini

 

sağlayacak, akışkanlığını sürekli kılacak bir yeni kentsel dokudur bu.

 

Yeni kentin en önemli özelliği mutenalaşmasıdır. Bu bir tercih değil yeni

 

sermaye bakımından ihtiyaçtır. Çünkü, yeni kent aynı zamanda belli bir

 

estetik görselliğin realizasyonudur.

 

Mutenalaşmanın yeni sanatsal kurumlar üstünden yapılması akıllıca bir

 

iştir. Yeni müzelerin, yeni sanat kurumlarının, galerilerin meydana

getirdiği

 

alanların ürettiği rant planlı ve sistematik bir uygulamadır. Bu sanatın

 

kentsel zeminde yeni bir dolaşım politikası yaratmasına tekabül ediyor.

 

Daha üst sınıfların ve daha güçlü sermaye kesiminin beklentilerine yanıt

 

veren bu sanat her şeye rağmen kendisine ait bir eleştirel, toplumsal

 

kimliğe sahiptir.

 

Ama ondan daha önemlisi sanatın geniş toplumsallıklarla ilişki kurmasıdır.

 

Asıl eleştirel güç o sanattın elinde olacaktır. Bu özelliği taşıyan sanatın

 

kendisi bir direniş alanıdır. Böylesi bir özelliğiyle sanat ve toplumsallık

 

ilişkisinin muhalefet ve direniş olarak belireceği muhakkak. "Gerçek" bir

 

demokrasi de muhalefet ve direniş olanağı sağladığı ölçüde hakikattir.

 

Bu bakımdan sanatın toplumsallıkla/kamusallıkla ilişkisi bugün her

 

zamankinden daha ziyade bir ihtiyaç, bir zaruret ve bir beklentidir.

 

Yeni metropol özelliklerini her bakımdan taşıyan İstanbul bu açıdan

 

önemli bir laboratuvar bugün. Bir yandan çektiği sermaye, diğer yandan

 

yaşadığı dönüşüm, nihayet bunlarla eklemlenmiş sanatsal etkinlik ve

 

üretim İstanbul'u ayrı bir gözle bakılması gereken bir odağa dönüştürüyor.

 

Sermaye siyaset ilişkilerinin şimdi sermaye-sanat ilişkilerine dönüştüğü

 

bir evreye tanıklık ettiğimiz muhakkak. Ama asıl soru yaşadığı soylulaşma

 

içinde İstanbul'un kentsel mekan olarak ne ölçüde sanatsal söyleme

 

yer vereceğidir. Küresel bir mimarlık dilinin öne çıktığı büyük dönüşüm

 

alanlarından arta kalan toplumsal zeminde mi bu sanat bir direniş

 

platformu oluşturacaktır; yoksa bizatihi o "yeni" mekanlar da çoğulcu,

 

değişken, tahrik eden bir sanata kapı aralayacak mıdır?

 

Hiçbir biçimde, bugün dahi, toplumsal sanat diline ve gerçeğine yakın

 

durmamış, onu tanımamış bir kent, küreselleşirken bu soruları cevapladığı

 

oranda karakterini tayin edecektir.