“A Fatal Addiction” explores the “violence of God” tradition as it exists in all religions (including Buddhism), and then examines how this dynamic is flipped, with political leaders using spiritual and religious language to sell war to the general public. http://www.algora.com/391/book/details.html
From FonsVitae.com: Shalom/Salaam: A Story of a Mystical Fraternity is a groundbreaking study introducing to the popular reader, the story of respectful and loving interfaith relations between Sufis (Islamic mystics) and Jewish spiritual thinkers for nearly one thousand years. From the inception of Islam, to the Golden Age (8th-12th centuries) Jewish-Sufis of Arabia, North Africa and Spain, through the Kabbalists in Spain and the Holy Land, and then into 18th century European Hasidism, Islamic and Jewish ideas commingled to influence both paths, as well as strongly influencing the Jewish mystical system.
Sophia: The Journal of Traditional Studies, October, 2011
Positive interactions between Jewish and Islamic thinkers from the founding of Islam (622) until the fall of the Spanish Caliphate (1492) led to deep Muslim influence on the Jewish religion, including meditation practices, mystical grammar, retreat and supererogatory prayers, liturgical imagery and other specific inspirations that reverberate to this day. For nearly one millennium, Jewish
We read sometime ago in the Washington Post (“Allegations of Racism and questions about a town’s character”), about the continuing desecration of a once fertile Jewish-Muslim mystical fraternity. The article notes: “In the winding stone alleys of this Galilee hill town, a centuries-old center of Jewish mysticism, a campaign is underway.
Panoptikon: On Contemporary Visual Culture, American University in Dubai, UAE, May 28, 2009
So, it was Immanuel Kant (d. 1804).
It was Kant who birthed the conception of “art for art’s sake,” where the significance of human creativity was said to represent little more than the product of creativity itself. It was Kant that originally conceived this reductive vision of the human imagination, starting the downward spiral that has sent art from the center of society, into the marginalized cultural eddy where it now circumnavigates its own tail. Ultimately, his ideas led to a denaturing of art’s immanent meaning to such an extent, that it spawned a cottage industry of critics, analysts and market purveyors, redefining art away from its position at the center of human spiritual experience, and into the little cesspool where it now breeds like mosquito larvae.
Remote Control: Conflict and Mediation in Contemporary Art, University of California Irvine, Spring 2009
You cannot be for one thing, without being against something else. As the great 13th century Sufi saint, Jalluludin Rumi stated: “There is nothing in this world that is not a blessing for one person and a curse for somebody else.”
Patristic, Medieval and Renaissance Studies Conference, Villanova University, Philadelphia, PA, October 10-12, 2008
Medieval Judaism was deeply influenced by Sufism. Virtually all-Jewish thinkers between the 8th and 12th centuries assimilated some, or much of Islamic mystical thinking, allowing it to color their interpretation of their own Hebraic practice. With nearly 90% of the world’s Jews living under Islam at the height of the Muslim Caliphate, everyone from Saadia Gaon (d.
International Journal of the Arts in Society, Volume 3, Issue 2, Victoria, Australia, Fall 2008
Every era of human development represents a time of profound crisis, one in which the very survival of the species hangs in the balance. The invention of the crossbow in the fourth century B.C. foretold a time of unlimited casualties in war, leading to the potential destruction of civilization.
Panoptikon: On Contemporary Visual Culture, American University in Dubai, UAE, January 24, 2008
Little is said around the art world these days about beauty; the beautiful is simply a quaint and mistaken idea from some past that no longer exists. It is seen as a bit too sincere, a touch saccharine and absolutely irrelevant to the contemporary art scene. In some circles, it is even viewed as reactionary, subversive to the idea of being subversive.