Rotkoff undoubtedly read Sun Tzu's The Art of War, written over 2,000 years ago. War is an art. Japanese got acquainted with Sun Tzu's text in the fifth century, when envoys visited China to acquire new insights in skills and to purchase tools and techniques. After the introduction of Buddhism the warrior class, bushi, started to write haiku as a meditative stylization of the now here experience, the core element of Zen: emptiness (mu, Sanskrit: sunyata) and the suchness of things (son-omama, konomama; Sanskrit: tathata). During the pacification of Japan after 1600, Yamaga Soko forged martial skills into a Zen Buddhist based, self-disciplining practice: The way (do) of the samurai class.2 While walking the bushido in peace time the samurai handled both sword and pen — bu to bun — to write and paint. And when their time had come to kill themselves so as to appease conflicting loyalties or pay their debts to their clan, before cutting (kiri) their bellies (hara) open, performing seppuku, some even wrote down their final haiku. The long trajectory from Japanized Chinese knowledge via meditative verse to the briefings of an Iraqi-based American Colonel with a Jewish background is highly intercultural, because of the temporal and spatial transformations that are presupposed in this process of cross cultural adaptation and cultivation.
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Notes and References
See B. Woodward,State of Denial. Bush at War, Part III. Simon & Schuster, New York, 2006, pp. 98, 102, 211
Sun Tzu,The Art of War (Transl. S. B. Griffith). Oxford University Press, London, 1963, p. 174
F. Fukuyama,The End of History and the Last Man. Free Press, New York, 1992
See also G. Lelli, ‘Transculturality: A Problematic Concept. Aesthetics between the Islam and the West’, in G. Marchiano & R. Milani (eds.), Frontiers of Transculturality in Contemporary Aesthetics. Trauben, Turin, 2001, p. 465
H. Oosterling,Radicale middelmatigheid. Boom, Amsterdam, 2000. http://www.henkooster-ling.nl/radmid/radicale.html
The word ‘Interesse’ is German for ‘interest’. It also means ‘to be interested in’. In a philosophical context this connotation is used in a literal sense: being (esse) in between (inter)
M. C. Taylor,Tears. SUNY Press, Albany, 1990, p. 141
See L. Apostel,Atheïstische spiritualiteit. VUB Press, Brussel, 1998
See H. Kimmerle,Philosophien der Differenz. Eine Einführung. Königshausen & Neumann, Würzburg, 2000
For further elaboration see H. Oosterling, ‘From Interests to Inter-esse: Jean-Luc Nancy on Deglobalization and Sovereignty’,SubStance, 106, Vol. 34, No. 1, 2005, pp. 81–103
On this topic there is an indirect relation between French existentialists like Sartre and Camus and thinkers of difference. This existentialist tone resonates in texts of Japanese thinkers like Kuki and D.T. Suzuki. However an aesthetics of existence cannot be explained by applying the crypto-metaphysical opposition betweenessentia andexistentia. See T. Botz-Bornstein,Place and Dream. Japan and the Virtual. Rodopi, Amsterdam, 2004, pp. 31, 48, 68
In fact Heidegger reworked Japanese aesthetics implicitly without any reference. See for this philosophical imperialisms: R. May,Ex Oriente Lux. Heideggers Werk unter ostasiatischen Einfluss. Steiner, Stuttgart, 1989; see for a comparative discussion: Botz-Bornstein, op. cit., pp. 26–51
Between 1997 and 2002 this was a research program of the Center for Philosophy & Arts (CFK) based at the Department of Philosophy of the Erasmus University Rotterdam. See for national and international symposia and publications:www2.eur.nl/fw/cfk
See A. C. Danto,The Philosophical Disenfranchisement of Art. Columbia University Press, New York, 1986, p. 209;The State of the Art. Prentice Hall, New York, 1987, p. 208
See H. Oosterling, ‘Sens(a)ble Intermediality and Interesse. Towards on Ontology of the In-Between’,Intermédialités, No. 1, Spring 2003, pp. 29–46. CRI Montreal. http://cri.histart.umontreal.ca/cri/fr/INTERMEDIALITES/p1/pdfs/p1_oosterling.pdf
This redirection can be situated in between two exhibitions in Centre Pompidou: Lyotard,Les Immateriaux (1985) and R. Krauss,L'Informe (1996). See for the latter: Y.-A. Bois & R. E. Kraus,Formless. A User's Guide. Zone books, New York, 1997. See further: H. Oosterling, ‘ICTheology or local interesse? Desacralizing Derrida's chora’, in L. Nagl (ed.),Essays zu Jacques Derrida and Gianni Vattimo, Religion. Peter Lang. Europäischer Verlag der Wissenschaften, New York, 2001, pp. 109–130
See T.M. Raysor (ed.),Coleridge's Miscellaneous Criticism. Folcroft Press, London, 1936, p. 33
See D. Higgins,The Poetics and Theory of the Intermedia. Southern Illinois University Press, Carbondale, 1984
F. J. Albersmeier,Theater, Film und Literatur in Frankreich. Medienwechsel und Intermedialität. Wissenschaftliche Buchgesellschaft, Darmstadt, 1992; P. Zima (ed.),Literatur intermedial. Wissenschaftliche Buchgesellschaft, Darmstadt, 1995; J. M ü ller, Intermedialit ä t. Formen moderner kultureller Kommunikation. Nodus Publikationen, M ü nster, 1996. Henk Oosterling & Ewa Plonovska-Ziarek (eds.), Intermedialities. Philosophy, Art, Politics. Rowland & Littlefield, Lanham, 2008
M ü ller, op. cit., p. 83 [my translation]
M ü ller, op. cit., p. 89 [my translation]
P. Wagner (ed.),Icons — Texts — Iconotexts. Essays on Ekphrasis and Intermediality. Walter de Gruyter, Berlin, 1996, p. 17
U. Link-Heer & V. Roloff (eds.),Luis Bu ñ uel. Film — Literatur — Intermedialit ä t. Wissenschaftliche Buchgesellschaft, Darmstadt, 1994, p. 4 [my translation]
V. Roloff, ‘Einleitung: Bu ñ uels reflektierte Intermedialit ä t’, in Link-Heer & Roloff, op. cit., p. 6
V. Borsò, ‘Luis Bu ñ uel: Film, Intermedialit ä t und Moderne’, in Link-Heer & Roloff, op. cit., p. 160 [my translation]
See G. Deleuze,Francis Bacon. Logique du la sensation. Éditions de la différence, La Vue le Texte, Paris, 1981, p. 27; G. Deleuze, F. Guattari,Qu'est-ce que la philosophie ? Éditions de Minuit, Paris, 1991, p. 200
Botz-Bornstein, op. cit., p. 48
H. Szeemann (Hrgs.),Der Hang zum Gesamtkunstwerk. Europ ä ische Utopien seit 1800. Verlag Sauerl ä nder, Aarau und Frankfurt a/M, 1983, p. 16
See the concluding remarks of W. Benjamin,The Work of Art in the Age of Mechanical Reproduction, (1935). see:www.arthistoryarchive.com/arthistory/modern/The-Work-of-Art-in-the-Age-of-Mechanical-Reproduction.html
M. Foucault,Histoire de la sexualité 2. L'usage des plaisirs. Édition Gallimard, Paris, 1984, pp. 16–17
G. Deleuze,Pure Immanence. Essays on a Life. Zone Books, New York, 2001, p. 29
See J.-F. Lyotard,Les TRANSformateurs DUchamp. Galilée, Paris, 1977, p. 13
Lyotard, op. cit., p. 35
C. Tomkins,Duchamp. A Biography. Henry Holt, New York, 1996, p. 429
See M. Hamashita, ‘Taste and Novelty from the Viewpoint of Modernity in Japan’, in G. Marchiano & R. Milani, op. cit., p. 501
‘These like all other basic categories will be referred to in their non-translatable form, because these being multilayered don't allow a simple translation,’ R. Ohashi states inKire. Das ‘SchÖne’ in Japan. Philosophisch- ä sthetische Reflexionen zu Geschichte und Moderne. Dument, KÖln, 1994, p. 161 [my translation]
R. Wilkinson, ‘Aesthetic Virtues in the Context of Nirvanic Values’, in G. Marchiano & R. Milani, op. cit., p. 98
Wilkinson, op. cit., p. 92
D. T. Suzuki,Zen and Japanese Culture. Bollinger Series, Princeton, 1970, p. 24
Ohashi, op. cit., p. 74 [my translation]
Suzuki, op. cit., p. 258
Botz-Bornstein, op. cit., p. 48
Kiru means to cut with a sword and metaphorically ‘to end’.Kiri indicates a limit or end,kire a slice. In combinations likeomoi kiru this cutting of thinking (omoi) means ‘to decide’ or as inhara kiri cutting the belly (hara)
Ohashi, op. cit., p. 16 [my translation]
Ohashi, op. cit., p. 66 [my translation]
Ohashi, op. cit., p. 75 [my translation]
Ohashi, op. cit., p. 36 [my translation]
M. Abe,Zen and Western Thought. University of Hawaii Press, Honolulu, 1985, p. 233
See T. Deshimaru,Zen & Arts Martiaux. Editions Seghers, Paris, 1977, pp. 31, 145
Ohashi, op. cit., p. 80 [my translation]
To give one example, the different ‘schools’ (ryu) in karate are the result of adaptingkata to the specific physical and mental qualities of the master, who after first having learnt the style of hissensei and having protected his master's school, develops his ownryu. This threefold development is calledshu ha ri
Ohashi, op. cit., p. 104 [my translation]
M.-H. Kim, ‘Aesthetics Disinterestedness in East-Asian Way of Thinking’, in G. Marchiano & R. Milani, op. cit., p. 485
K. Nishitani,The Self-Overcoming of Nihilism. SUNY Press, New York, 1990, p. 180
Ohashi, op. cit., p. 156 [my translation]
See I. Arata, ‘Ma: Japanese Time-Space’, inThe Japanese Architect. International Edition of Shinkenchiku. no. 262, Feb. 1979, pp. 69–80
See Ch. Buci-Glucksmann,Der kartographische Blick der Kunst. Merve, Berlin, 1997, p. 166 [my translation]. See for an extensive exploration of ma: H. Oosterling, ‘A Culture of the Inter. Japanese Notions of Ma and Basho’, in Sensus communis in Multi- and Intercultural perspective. On the Possibility of Common Judgements in Arts and Politics. H. Kimmerle & H. Oosterling (eds.), KÖnigshausen & Neumann, W ü rzburg, Part 7; Botz-Bornstein, op. cit., pp. 109–124
See S. Ueda, ‘Nishida, Nationalism, and the Question of Nationalism’, in J. C. Maraldo & J. W. Heisig,Rude Awakenings. University of Hawaii Press, Honolulu, 1995, p. 102
See K. Nishida,An Inquiry into the Good. Yale University Press, New Haven, 1990. See also: R. Elberfeld,Kitaro Nishida (1870–1945). Das Verstehen der Kulturen. Moderne japanische Philosophie und die Frage nach der Interkulturalit ä t. Amsterdam, 1999, pp. 107–109
In Japanese ‘experience’ is eitherkeiken or taiken, respectively ‘Erfahrung’ and ‘Erlebnis’. See Y. Yuasa,The Body. Towards an Eastern Mind-Body theory. SUNY Press, Albany, 1987, p. 49
Yuasa, op. cit., p. 39
Botz-Bornstein, op. cit., p. 29
Botz-Bornstein, op. cit., p. 35
Botz-Bornstein, op. cit., p. 48
Abe, op. cit., p. 233
Suzuki, op. cit., p. 13
T. Deshimaru,Zen and Arts Martiaux. Paris, 1977, p. 34 [my translation]
See the works of the American-based Tibetan Buddhist ChÖgyam Trungpa Rinpoche (1939–1987),Cutting through Spiritual Materialism (1973) andShambhala. The Sacred Path of the Warrior (1984)
Deshimaru, op. cit., p. 31 [my translation]
Ohashi thematizes this even more profoundly, when he concludes that Japanese culture is the result of an ongoing process of importing and adapting other cultures like China, Korea, Europe and recently the USA: ‘For the Japanese European influences were no longer an alien world, they became their own world’ (141) [my translation]
See for an extensive account: H. Oosterling, ‘Scheinheiligkeit oder die Heiligkeit des Scheins. Subjektkritische Besch ä ftigungen mit Japan’, inDas Multiversum der Kulturen. H. Kimmerle (Hrgs.), Rodopi Elementa, Amsterdam, 1996, pp. 103–120
See E. Roudinesco,Jacques Lacan. Esquisse d’une vie, histoire d’un système de pensée. Fayard, Paris, 1993, p. 456. See H. Oosterling, ‘Radikale Mediokrit ä t oder revolution ä re Akte? Über fundamentals Inter-esse’, in E. Vogt, H.J. Silverman (Hrgs.), Über Zizek. Turia + Kant, Vienna, pp. 42–62
See J.-F. Lyotard, Que peindre? Adami, Arakawa, Buren. Editions de la différence, Paris, 1987, p. 108 [my translation]
J.-F. Lyotard,The Inhuman. Reflections on Time. Polity Press, Cambridge, 1991, p. 45
Idem, p. 140
J.-F. Lyotard,Moralités Postmodernes. Galilée, Paris, 1993, p. 204 [my translation]
M. Yoneyama, ‘Creative Chora and Aesthetic of Place’, in G. Marchiano & R. Milani, op. cit., pp. 105–110
K. K. Inada, ‘The Aesthetics of Oriential Emptiness’, in G. Marchiano & R. Milani, op. cit., p. 74
M. C. Taylor, ‘On Deconstruction Theology: A Symposium on Erring: A Postmodern A/ Theology’,Journal of the American Academy of Religion, LIV/3, 1986, p. 553
Botz-Bornstein, op. cit., p. 46
N. R. Glass,Working Emptiness. Towards a Third Reading of Emptiness In Buddhism and Postmodern Thought. Scholars Press, Atlanta, 1995, p. 94
Yoneyama, op. cit., p. 106
See E. Giaccardi, ‘Transcultural Vision and Epistemological Shift: From Aesthetics to High-Tech Society’, in G. Marchiano & R. Milani, op. cit., p. 507
‘Trans’ indicates disappearance as a result of excess. See J. Baudrillard,La Transparance du Mal. Galilée, Paris, 1990, pp. 22–42
G. Deleuze,Pure Immanence. Essays on A Life. Zone Books, New York, 2001, p. 26
See for a critical comment, J. de Mul, ‘Transhumanism. The Convergence of Evolution, Humanism and Information Technology’, in Rhizome.org, Connecting Art & Technology. Seewww2.eur.nl/fw/hyper/index.htm
Deleuze, op. cit., p. 29
Apostel, op. cit., p. 24
Apostel, op. cit., p. 123
In Belgian academic research two trajectories are relevant: W. Desmond,Being and the Between (1995) enEthics and the Between (2001); for a social-therapeutic approach, L. Beyers,Conflict en inter-esse. VUB Press, Brussel, 1994
Wilkinson, op. cit., p. 101. However, for Japanese this is not obvious. In his after word to Ohashi's book onkire the translator warns the reader for an ecological interpretation of the Japanese mix of nature and technique. Ohashi, op. cit., p. 164
‘Mental ecology’ is an option. It is in the cooperative oeuvre of Deleuze and Guattari that we find enough material to expand the idea that ecology has different dimensions: physical, social and mental. See F. Guattari,Les trois ecologies (1989)
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Oosterling, H. (2009). Living – in between – Cultures. In: Van den Braembussche, A., Kimmerle, H., Note, N. (eds) Intercultural Aesthetics. Einstein Meets Margritte: An Interdisciplinary Reflection on Science, Nature, Art, Human Action and Society, vol 9. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5780-9_3
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