Philosophia-international Journal of Philosophy, Jan 30, 2021
In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple... more In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple was just starting, but U2 was already established as a "band that has a huge global following" (Doyle 2011). Bono, the lead singer and frontman of U2, explained this move to Steve Jobs's biographer, Walter Isaacson (2011): "These men [Apple] have helped design the most beautiful art object in music culture since the electric guitar […] The job of art is to chase the ugliness away." Bono was referring to the first-generation iPod, the classic rectangular white device with the even more iconic click-wheel that saved the entire music industry from the ugliness known as illegal downloading. However, what is "ugliness"? Is the ugly a mere opposite of the beautiful? If the iPod was considered "beautiful," and another object, say a transistor radio, was considered "ugly," does that mean that the latter lacks properties of being "beautiful"? Or is it a complete denial of the aesthetic properties (e.g., sound, shape, color, functionality, texture, etc.) present in the iPod? If, for Bono, the function of art is to expel ugliness, what is the role of ugliness then? Is it that useless? How does "ugly" compare with other negative emotions, such as "disgust"? Does it make sense to say that "An object is not beautiful but not necessarily ugly; it is however disgusting"? Is it possible to extend aesthetic ugliness to ethical ugliness, such as music piracy? Understandably, since aesthetics is very much bewitched with questions about beauty and the sublime, problems about ugliness, like the ones mentioned, seem to be unattractive to be noticed. In the field transfixed by problems of the beautiful, there are few notable works that give full attention to the ugly. Karl Rosenkranz, a German philosopher who mostly disagrees with his mentor Hegel, published the Aesthetics of Ugliness (1853). Here, Rosenkranz weaves aesthetics with ethics and axiology in the discussion of the ugly. According to him, "ugly" is not merely the opposite of "beautiful," "ugliness is inseparable from the concept of beauty" (Rosenkranz 2015, 32). Hence, the importance of incorporating the evaluation of negative judgments (i.e., ugliness, monstrosity, revulsion, etc.) in aesthetics. After more than a century, Umberto Eco takes a second look at the ugly and publishes On Ugliness (2007). As the sequel to his On Beauty: A History of Western Idea (2004), Eco traces the historical BOOK REVIEW 129
This research endeavored to discover Lorenzo M. Tañadas philosophy of nationalism and how his lif... more This research endeavored to discover Lorenzo M. Tañadas philosophy of nationalism and how his life serves as its very embodiment. It was also the objective of this study to show that Tañadas philosophy of nationalism could serve as a model for the emancipation of philosophy from its incarcerating concept that it is merely a realm of pure or abstract ideas devoid of any concrete practice. In order to fulfill these aims, the researcher utilized the descriptive, analytic, and the traditional method of philosophy as espoused by Gripaldo. As a result, this research discovered that Tañadas philosophy of nationalism is threefold: axiological, humanitarian, and economic. The axiological dimension responds to the sociological, moral, religious, and mental problems of the nation through prescribing nationalism viewed as the citizens primary virtue being its immediate remedy. Humanitarian nationalism, which coincides with the Hayes Formula and somehow resembles Rousseaus, is centered on the gr...
Philosophia-international Journal of Philosophy, 2021
In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple... more In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple was just starting, but U2 was already established as a "band that has a huge global following" (Doyle 2011). Bono, the lead singer and frontman of U2, explained this move to Steve Jobs's biographer, Walter Isaacson (2011): "These men [Apple] have helped design the most beautiful art object in music culture since the electric guitar […] The job of art is to chase the ugliness away." Bono was referring to the first-generation iPod, the classic rectangular white device with the even more iconic click-wheel that saved the entire music industry from the ugliness known as illegal downloading. However, what is "ugliness"? Is the ugly a mere opposite of the beautiful? If the iPod was considered "beautiful," and another object, say a transistor radio, was considered "ugly," does that mean that the latter lacks properties of being "beautiful"? Or is it a complete denial of the aesthetic properties (e.g., sound, shape, color, functionality, texture, etc.) present in the iPod? If, for Bono, the function of art is to expel ugliness, what is the role of ugliness then? Is it that useless? How does "ugly" compare with other negative emotions, such as "disgust"? Does it make sense to say that "An object is not beautiful but not necessarily ugly; it is however disgusting"? Is it possible to extend aesthetic ugliness to ethical ugliness, such as music piracy? Understandably, since aesthetics is very much bewitched with questions about beauty and the sublime, problems about ugliness, like the ones mentioned, seem to be unattractive to be noticed. In the field transfixed by problems of the beautiful, there are few notable works that give full attention to the ugly. Karl Rosenkranz, a German philosopher who mostly disagrees with his mentor Hegel, published the Aesthetics of Ugliness (1853). Here, Rosenkranz weaves aesthetics with ethics and axiology in the discussion of the ugly. According to him, "ugly" is not merely the opposite of "beautiful," "ugliness is inseparable from the concept of beauty" (Rosenkranz 2015, 32). Hence, the importance of incorporating the evaluation of negative judgments (i.e., ugliness, monstrosity, revulsion, etc.) in aesthetics. After more than a century, Umberto Eco takes a second look at the ugly and publishes On Ugliness (2007). As the sequel to his On Beauty: A History of Western Idea (2004), Eco traces the historical BOOK REVIEW 129
Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng ... more Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng kasaysayan ng umunlad ng mga pilosopiya sa mundo. Isa sa pamamaraan ng pagsasaliksik dito ay ang paggamit ng natatanging kultura ng ating bansa na siya namang sumasalamin ng hugis ng kaisipan o pag-iisip nating mga Pilipino. Sa artikulong ito, layunin ng may-akda na gamitin ang isa sa mahalaga ngunit kadalasang nakakaligtaang sangkap ng kultura ng ating bansa – ang inumang Pinoy. Sa paggamit ng dalawang pamamaraan ng pananaliksik, ang pagsusuring metalinggwistiks at penomenolohiya ng kaasalan, ipinababatid ng lathalaing ito na ang inuman ay nararapat lamang na ituring bilang mahalagang elementong babalangkas at magpapalawig ng pilosopiyang Pilipino na maaaring ihalintulad sa symposium ng lumang Griyego.
Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng ... more Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng kasaysayan ng umunlad ng mga pilosopiya sa mundo. Isa sa pamamaraan ng pagsasaliksik dito ay ang paggamit ng natatanging kultura ng ating bansa na siya namang sumasalamin ng hugis ng kaisipan o pag-iisip nating mga Pilipino. Sa artikulong ito, layunin ng may-akda na gamitin ang isa sa mahalaga ngunit kadalasang nakakaligtaang sangkap ng kultura ng ating bansa – ang inumang Pinoy. Sa paggamit ng dalawang pamamaraan ng pananaliksik, ang pagsusuring metalinggwistiks at penomenolohiya ng kaasalan, ipinababatid ng lathalaing ito na ang inuman ay nararapat lamang na ituring bilang mahalagang elementong babalangkas at magpapalawig ng pilosopiyang Pilipino na maaaring ihalintulad sa symposium ng lumang Griyego.
Philosophia-international Journal of Philosophy, Jan 30, 2021
In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple... more In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple was just starting, but U2 was already established as a "band that has a huge global following" (Doyle 2011). Bono, the lead singer and frontman of U2, explained this move to Steve Jobs's biographer, Walter Isaacson (2011): "These men [Apple] have helped design the most beautiful art object in music culture since the electric guitar […] The job of art is to chase the ugliness away." Bono was referring to the first-generation iPod, the classic rectangular white device with the even more iconic click-wheel that saved the entire music industry from the ugliness known as illegal downloading. However, what is "ugliness"? Is the ugly a mere opposite of the beautiful? If the iPod was considered "beautiful," and another object, say a transistor radio, was considered "ugly," does that mean that the latter lacks properties of being "beautiful"? Or is it a complete denial of the aesthetic properties (e.g., sound, shape, color, functionality, texture, etc.) present in the iPod? If, for Bono, the function of art is to expel ugliness, what is the role of ugliness then? Is it that useless? How does "ugly" compare with other negative emotions, such as "disgust"? Does it make sense to say that "An object is not beautiful but not necessarily ugly; it is however disgusting"? Is it possible to extend aesthetic ugliness to ethical ugliness, such as music piracy? Understandably, since aesthetics is very much bewitched with questions about beauty and the sublime, problems about ugliness, like the ones mentioned, seem to be unattractive to be noticed. In the field transfixed by problems of the beautiful, there are few notable works that give full attention to the ugly. Karl Rosenkranz, a German philosopher who mostly disagrees with his mentor Hegel, published the Aesthetics of Ugliness (1853). Here, Rosenkranz weaves aesthetics with ethics and axiology in the discussion of the ugly. According to him, "ugly" is not merely the opposite of "beautiful," "ugliness is inseparable from the concept of beauty" (Rosenkranz 2015, 32). Hence, the importance of incorporating the evaluation of negative judgments (i.e., ugliness, monstrosity, revulsion, etc.) in aesthetics. After more than a century, Umberto Eco takes a second look at the ugly and publishes On Ugliness (2007). As the sequel to his On Beauty: A History of Western Idea (2004), Eco traces the historical BOOK REVIEW 129
This research endeavored to discover Lorenzo M. Tañadas philosophy of nationalism and how his lif... more This research endeavored to discover Lorenzo M. Tañadas philosophy of nationalism and how his life serves as its very embodiment. It was also the objective of this study to show that Tañadas philosophy of nationalism could serve as a model for the emancipation of philosophy from its incarcerating concept that it is merely a realm of pure or abstract ideas devoid of any concrete practice. In order to fulfill these aims, the researcher utilized the descriptive, analytic, and the traditional method of philosophy as espoused by Gripaldo. As a result, this research discovered that Tañadas philosophy of nationalism is threefold: axiological, humanitarian, and economic. The axiological dimension responds to the sociological, moral, religious, and mental problems of the nation through prescribing nationalism viewed as the citizens primary virtue being its immediate remedy. Humanitarian nationalism, which coincides with the Hayes Formula and somehow resembles Rousseaus, is centered on the gr...
Philosophia-international Journal of Philosophy, 2021
In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple... more In 2004, the Irish rock group U2 agreed to endorse a new Apple product for free. Back then, Apple was just starting, but U2 was already established as a "band that has a huge global following" (Doyle 2011). Bono, the lead singer and frontman of U2, explained this move to Steve Jobs's biographer, Walter Isaacson (2011): "These men [Apple] have helped design the most beautiful art object in music culture since the electric guitar […] The job of art is to chase the ugliness away." Bono was referring to the first-generation iPod, the classic rectangular white device with the even more iconic click-wheel that saved the entire music industry from the ugliness known as illegal downloading. However, what is "ugliness"? Is the ugly a mere opposite of the beautiful? If the iPod was considered "beautiful," and another object, say a transistor radio, was considered "ugly," does that mean that the latter lacks properties of being "beautiful"? Or is it a complete denial of the aesthetic properties (e.g., sound, shape, color, functionality, texture, etc.) present in the iPod? If, for Bono, the function of art is to expel ugliness, what is the role of ugliness then? Is it that useless? How does "ugly" compare with other negative emotions, such as "disgust"? Does it make sense to say that "An object is not beautiful but not necessarily ugly; it is however disgusting"? Is it possible to extend aesthetic ugliness to ethical ugliness, such as music piracy? Understandably, since aesthetics is very much bewitched with questions about beauty and the sublime, problems about ugliness, like the ones mentioned, seem to be unattractive to be noticed. In the field transfixed by problems of the beautiful, there are few notable works that give full attention to the ugly. Karl Rosenkranz, a German philosopher who mostly disagrees with his mentor Hegel, published the Aesthetics of Ugliness (1853). Here, Rosenkranz weaves aesthetics with ethics and axiology in the discussion of the ugly. According to him, "ugly" is not merely the opposite of "beautiful," "ugliness is inseparable from the concept of beauty" (Rosenkranz 2015, 32). Hence, the importance of incorporating the evaluation of negative judgments (i.e., ugliness, monstrosity, revulsion, etc.) in aesthetics. After more than a century, Umberto Eco takes a second look at the ugly and publishes On Ugliness (2007). As the sequel to his On Beauty: A History of Western Idea (2004), Eco traces the historical BOOK REVIEW 129
Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng ... more Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng kasaysayan ng umunlad ng mga pilosopiya sa mundo. Isa sa pamamaraan ng pagsasaliksik dito ay ang paggamit ng natatanging kultura ng ating bansa na siya namang sumasalamin ng hugis ng kaisipan o pag-iisip nating mga Pilipino. Sa artikulong ito, layunin ng may-akda na gamitin ang isa sa mahalaga ngunit kadalasang nakakaligtaang sangkap ng kultura ng ating bansa – ang inumang Pinoy. Sa paggamit ng dalawang pamamaraan ng pananaliksik, ang pagsusuring metalinggwistiks at penomenolohiya ng kaasalan, ipinababatid ng lathalaing ito na ang inuman ay nararapat lamang na ituring bilang mahalagang elementong babalangkas at magpapalawig ng pilosopiyang Pilipino na maaaring ihalintulad sa symposium ng lumang Griyego.
Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng ... more Ang pagsasaliksik sa pilosopiyang Pilipino ay maaaring ituring na pausbong pa lamang sa gitna ng kasaysayan ng umunlad ng mga pilosopiya sa mundo. Isa sa pamamaraan ng pagsasaliksik dito ay ang paggamit ng natatanging kultura ng ating bansa na siya namang sumasalamin ng hugis ng kaisipan o pag-iisip nating mga Pilipino. Sa artikulong ito, layunin ng may-akda na gamitin ang isa sa mahalaga ngunit kadalasang nakakaligtaang sangkap ng kultura ng ating bansa – ang inumang Pinoy. Sa paggamit ng dalawang pamamaraan ng pananaliksik, ang pagsusuring metalinggwistiks at penomenolohiya ng kaasalan, ipinababatid ng lathalaing ito na ang inuman ay nararapat lamang na ituring bilang mahalagang elementong babalangkas at magpapalawig ng pilosopiyang Pilipino na maaaring ihalintulad sa symposium ng lumang Griyego.
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