El pensamiento sensible y el pensamiento simbólico en la creación artística

El Pensamiento Sensible, veloz e incesante, es base y raíz del Pensamiento Simbólico, intermitente y lento, sin el cual éste no existiría, pero que existe sin él. No necesita transformarse o producir Pensamientos Simbólicos, esto es, palabras, porque son dos diferentes niveles y formas de pensar. Estas características, sin embargo, no eximen lo Sensible del Saber, ni lo absuelven de la sinrazón. El Pensamiento Sensible, primogénito y genitor, inventa las Palabras, y las Palabras, organizadas, construyen el Pensamiento Simbólico. Los dos Pensamientos, el Sensible y el Simbólico, interaccionan, se subdividen y se multiplican, se amalgaman impuros y varían sus flujos a cada instante. (Párrafo extraído del texto a modo de resumen)Facultad de Bellas Arte

El pensamiento sensible y el pensamiento simbólico en la creación artística

El Pensamiento Sensible, veloz e incesante, es base y raíz del Pensamiento Simbólico, intermitente y lento, sin el cual éste no existiría, pero que existe sin él. No necesita transformarse o producir Pensamientos Simbólicos, esto es, palabras, porque son dos diferentes niveles y formas de pensar. Estas características, sin embargo, no eximen lo Sensible del Saber, ni lo absuelven de la sinrazón. El Pensamiento Sensible, primogénito y genitor, inventa las Palabras, y las Palabras, organizadas, construyen el Pensamiento Simbólico. Los dos Pensamientos, el Sensible y el Simbólico, interaccionan, se subdividen y se multiplican, se amalgaman impuros y varían sus flujos a cada instante. (Párrafo extraído del texto a modo de resumen)Facultad de Bellas Arte

Who Controls the Looking Glass? Towards a Conversational Understanding of Organizational Theatre

This paper presents a longitudinal study of interactive organizational theatre. Managers of a large home care organization used 30 instances of organizational theatre over a one year period to effect organizational change. We found that neither management, who had hoped that employees would accept and internalize the messages accompanying the play, nor employees, who used the liminal spaces to express their own take on the organization’s issues, achieved their aims directly. Yet a year later, organizational performance and satisfaction were significantly improved—much of this was attributed to the play. To explain this, we develop a conversational theory of change, one where ‘conversation pieces’ are central. We also speculate on the properties that conversation pieces and conversational systems like organizational theatre must have if they are to effect change.N/

Is Hamlet Scandinavian Crime Fiction?

This paper combines two of the suggested topics: “law as an instrument of ideology” and “ideological interpellation through law” as it explores whether or not it is possible to use literary fiction as part of an argument in legal argumentation. The use of such an argument is strongly connected with an attitude of state to art, culture and values included both in art and law. Art as a part of a socio-cultural system is one of the material sources of law so it would be natural to admit it in just judicial decision. Unfortunately it is not typical for law to use such relationships between art and law to make judicial decisions better or at least more persuasive. It may be caused by the fact that the choice of what literary fiction is suitable for legal argumentation and which is not can be seen as a kind of ideology. Therefore the state determines which art is “good enough” to be a part of legal reasoning. Usually it differs between “high art” and “mass culture.” It results in a form of “labelling” of art. Unfortunately, by evaluating art in such a manner each state manifests itself as almost a totalitarian one. Socialist realism was a very expressive example. So it is not a matter for the democratic state to decide which piece of art is capable to influence law, is it? In this contribution I will emphasize Žižek’s critique of ideology in order to deal with ideology in argumentation by literary fiction in law. Besides that I will draw inspiration from Law and Literature movements. The aim of my paper is to explain how literary fiction can be used as a legal argument in a proper way as a necessary social appeal through law.This paper combines two of the suggested topics: “law as an instrument of ideology” and “ideological interpellation through law” as it explores whether or not it is possible to use literary fiction as part of an argument in legal argumentation. The use of such an argument is strongly connected with an attitude of state to art, culture and values included both in art and law. Art as a part of a socio-cultural system is one of the material sources of law so it would be natural to admit it in just judicial decision. Unfortunately it is not typical for law to use such relationships between art and law to make judicial decisions better or at least more persuasive. It may be caused by the fact that the choice of what literary fiction is suitable for legal argumentation and which is not can be seen as a kind of ideology. Therefore the state determines which art is “good enough” to be a part of legal reasoning. Usually it differs between “high art” and “mass culture.” It results in a form of “labelling” of art. Unfortunately, by evaluating art in such a manner each state manifests itself as almost a totalitarian one. Socialist realism was a very expressive example. So it is not a matter for the democratic state to decide which piece of art is capable to influence law, is it? In this contribution I will emphasize Žižek’s critique of ideology in order to deal with ideology in argumentation by literary fiction in law. Besides that I will draw inspiration from Law and Literature movements. The aim of my paper is to explain how literary fiction can be used as a legal argument in a proper way as a necessary social appeal through law