Philosophical Art

Practicing philosophy in the contemporary world is a daunting task. Knowledge has grown significantly in the past century. It overwhelms us. Developments in markets, media, medicine, technology, theory, data, discourse, politics, power, war, wealth, genetics, robots, chemicals, poverty, pollution, ecology and economy have exploded. Specialized disciplines have concentrated and compartmentalized their knowledge making some discoveries especially in technology, so complicated only the experts understand them. The sheer diversity of knowledge can paralyze analysis.

The rehabilitation of paralysis is the task of philosophy. In an age of worldview proliferation, where every view is a view, where the infinite withdraw of meaning makes both the mundane and extraordinary matters of capital – in this age the world is in desperate need for orientations strong enough to honor past worlds and flexible enough to grow new ones. The gift of philosophical art begins inside the precession of knowledge, on the verge of risk and adventure.

In philosophy, my journey has always been an interdisciplinary practice of world building. My philosophical practice is not postmodernism; it is not structuralism or deconstruction, not simply continental or analytic, pragmatic or idealist, romantic or scientific, historical or transcendental; it rejects none and defies all, includes most and completely transcends its Christian inheritance. I practice a philosophy that emerged from conscious thinkers seeking to grasp reality, to merge science with religion and Greece with Jerusalem, to integrate the dichotomies between the internal/external, part/whole, mind/body, individual/society. To make sense of life amidst thresholds and entanglement, to live and express art, to honor the call of becoming and the integrity of the Other – this is my philosophy.

My practice of philosophy derives a great deal of its inspiration from the idea, integral. I include the thought of many: Sri Aurobindo, Jean Gebser, Teilhard De Chardin, Carl Jung, A.N. Whitehead and Edgar Morin, but some voices are clearly louder than others. I also include critical theory that traverses the Frankford school and schools of postmodern, post-colonial, and feminist influence; these philosophical threads weave an artistic tapestry that convolutes the space between margin and dominate, 1st and 3rd worlds, inequalities and privileged access. The worlding interests of this ‘integral’ philosophy suggests that some worlds are better than others – that we are on a ‘world’, both constituted by and constituting a ‘worlding’. It builds worlds from character qualities I find fundamentally paradoxical; it is decisive, selective, and prejudice and remains lucid, hospitable, and gracious; it stands with atheism while affirming divinity; it complements process and witnesses substance has compassion for both the victim and perpetrator. It is both antagonistic and cooperative, local and global, internal and external, micro and macro; I affirm complexity and insist on simplicity. The experience of existential withdraw is not without the living intimacy of fundamental approach. My integral philosophy is an invocation of serenity and aesthetic.


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