On 24/03/2016 20:40, Oluwatoyin Adepoju wrote:

looks great - tweeted that to a friend

mogg

>
> *"Philosophy and Artistic Creativity in Africa" *
>
> *in the *
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> *Forthcoming Palgrave-Macmillan Handbook of African Philosophy
> *
> Oluwatoyin Vincent Adepoju
>
> Compcros <http://danteadinkra.wix.com/compcros>
> Comparative Cognitive Processes and Systems
> "Exploring Every Corner of the Cosmos in Search of Knowledge"
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>
> Something great happened today, the 23rd of March 2016, when I began
> composing this.
>
> I completed my first development of a multidisciplinary style of
> exploring ideas at the intersection of the visual and verbal arts,
> philosophy and spirituality in relation to African created and African
> inspired bodies of knowledge and artistic forms.
>
> This summation is a chapter, "Philosophy and Artistic Creativity in
> Africa", in the forthcoming /Palgrave-Macmillan Handbook of African
> Philosophy/ edited by Adeshina Afolayan and Toyin Falola.
>
> The focus of the chapter is on simplicity, beauty, precision
> and power of expression.
>
> It is a great achievement for me because it is my first relatively
> extensive integration of aspects of what I have learnt so far in a
> quest I began as a teenager in the 80s, the exploration of
> African cognitive forms as demonstrating examples of the most exalted
> efforts of humanity to understand the meaning of existence.
>
> //Even now, texts of the caliber of the conversation between Death and
> Nachiketas on deathlessness through knowledge of ultimate reality and
> on the unity of humanity, the elements and the Ultimate in in
> the Indian /Upanishads/, the German philosopher Immanuel Kant's sublime
> articulations on relationships between temporality and eternity,
> terrestrial minisculity and cosmic vastness in his
> /Critique of Practical Reason/ and his magnificent exploration of the
> Sublime in /Critique of Judgement,/ Isaac Newton's awesome exposition of
> the philosophical and religious framework of his scientific quest in the
> "General Scholium" in his /Mathematical Principles of Natural
> Philosophy/, accounts of encounters with the source of existence in
> Christian, Islamic, Hindu and Buddhist and secular mysticism, among
> other texts that represent for me the peaks of human thought, examples
> of what R.S Korner in his book on Kant, describes as
> "the metaphysical moment", the awareness of human life as
> ultimately framed in a cosmic context, poised within a space
> of unknowing in which what is known of the meaning and direction of
> existence is at best a fragment of possibilities dimly sensed but not
> fully grasped, expanding in implications the more we know, to put
> Korner's vision in my own words, are more readily accessed than
> those relating to ideas developed in relation to the history of African
> people in dialogue with their natural and social environments and ideas
> and artistic expressions inspired by the African achievement.
>
> These texts and artistic forms exist, but they are largely far less
> well known and are far less readily accessible than texts and art from
> cognitive traditions and artistic expressions from the West and Asia.
>
> What I have done in that chapter is bring together some of the most
> powerful examples of such texts and art known to me, unifying them
> through a discussion on forms of knowledge, various ways of arriving at
> and expressing understanding represented by the development of
> conceptions in terms of linear and imaginative rationality as well as
> the transcendence of concepts, doing this essentially in terms of the
> self referentiality of African developed bodies of knowledge as systems
> that can be used to address the greatest scope of philosophical
> questions in terms of an arsenal of ideas drawn from within their own
> vast boundaries, from which scope dialogue may be developed
> with cognitive configurations from other civilizations.
>
> I aspire to mastery of Western, African and Asian thought and art, as
> well as those of other civilizations, grasping
> their character as unified structurations as well as an understanding of
> their interrelationships and the ability to blend
> these configurations at will.
>
> The examples in the
> chapter include published and unpublished texts, including a text by
> myself on the Akan Ghanaian Adinkra symbol system and excerpts from an
> essay by Kat N Rob on Cross River Nigerian and Cameroonian Nsibidi
> symbolism,available only on Facebook, social media having become a
> central source for scholarship.
>
> //I pray I am able to build this work into a book, ideally one that
> covers as many bodies of knowledge and artistic expressions as possible
> from and inspired by developments within the various
> geographical regions of Africa.
>
> I am grateful to Toyin Falola and Adeshina Afolayan for
> the inspiration provided by the invitation to write a chapter on a
> subject I have been steadily studying in terms of theory and practice
> for decades.
>
>
> Also posted, with rich images and exquisite accompanying text, on
>
> Facebook
> <https://www.facebook.com/notes/oluwatoyin-vincent-adepoju/philosophy-and-artistic-creativity-in-africa-palgrave-macmillan-handbook-of-afri/10153478813684103>
>
> African Hermeneutic Systems
> <http://africanhermeneuticsystems.blogspot.co.uk/2016/03/climbing-mountain-of-knowledge.html>
> blog
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