Ross Keating - Academia.edu (original) (raw)

Papers by Ross Keating

Studies in Spirituality, Dec 31, 2008

International Handbooks of Religion and Education, 2009

According to Neil Postman, education should provide an alternative view to that which dominates s... more According to Neil Postman, education should provide an alternative view to that which dominates society so as to provide students with a more balanced outlook on life. This corrective role, Postman argues, needs to be built into a school’s curriculum. In the late sixties and early seventies, he saw this role as a subversive one, and argued that students should be allowed to question authority and to approach learning as an act of self-guided exploration. Ten years later, in response to what he saw as largely a commercial, mass-media driven society he promoted the idea of teaching as a conserving activity, and promoted the skills of critical analysis so that students could be made aware of manipulative self-interests acting within society. In his latest book in this progression, The End of Education (1995), his most radical, he continues his appraisal of education in a society that he feels has lost its identity and sense of moral direction. This time he makes the point that schools ...

Australian Religion Studies Review, 2008

International Handbooks of Religion and Education, 2009

According to Neil Postman, education should provide an alternative view to that which dominates s... more According to Neil Postman, education should provide an alternative view to that which dominates society so as to provide students with a more balanced outlook on life. This corrective role, Postman argues, needs to be built into a school’s curriculum. In the late sixties and early seventies, he saw this role as a subversive one, and argued that students should be allowed to question authority and to approach learning as an act of self-guided exploration. Ten years later, in response to what he saw as largely a commercial, mass-media driven society he promoted the idea of teaching as a conserving activity, and promoted the skills of critical analysis so that students could be made aware of manipulative self-interests acting within society. In his latest book in this progression, The End of Education (1995), his most radical, he continues his appraisal of education in a society that he feels has lost its identity and sense of moral direction. This time he makes the point that schools should not attempt to serve the public but rather ‘create’ a public; and that teachers need to make this their foremost responsibility. Postman’s own solution for this present predicament is for teachers to start with a vision. A vision of their students entering public life ‘imbued with confidence, a sense of purpose, a respect for learning, and tolerance’. And for this vision to become reality, he argues, two things are necessary, ‘the existence of shared narratives and the capacity of such narratives to provide an inspired reason for schooling’ (Postman, 1995, pp 17–18). In his elaboration of this position he places an emphasis on the word ‘inspired’. In his view, schools now need common ‘gods’ more than common goals. Postman then

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

PART I: KEYNOTE SPEAKER: FOUR REASONS …

49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keati... more 49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keating ACU National University Ltd ... unity− body, mind, and spirit in harmonious accord− which then became reflected into a wider social harmony creating, over ...

Sydney Studies in Religion, 1994

Brabazon's only claim to fame in Australian literature is one poem published in the 1956 edit... more Brabazon's only claim to fame in Australian literature is one poem published in the 1956 edition of The Oxford Book of Australian Verse edited by Judith Wright (p.129). There are no poems of his in any other anthology of comparable standard nor is there to be found any critical assessment of his work apart from the occasional book review. These facts indicate either a poet who has been neglected or on whose work has been found wanting. Certainly, Brabazon's output is not excessive but he has produced, along with other works, twelve collections of poetry and his major work Stay With God (1959) had a remarkable six hundred pre-publication sales which for an Australian poet writing in the fifties is quite exceptional. Part of this neglect may be due to the difficulty critics have found in coming to terms with Brabazon's thought and his eclectic references to saintly personages and metaphysical ideas. This has often given him the label of being a mystical poet which he flatl...

Sydney Studies in Religion, 2008

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

Studies in Spirituality

Institute of Chicago. His writing focuses on the history and theory of images and art, science, a... more Institute of Chicago. His writing focuses on the history and theory of images and art, science, and nature. Some of his books are exclusively on fine arts, for instance, What Painting Is, Why are our Pictures Puzzles, The Poetics of Perspective, and of course most famous and infamously right now, On the Strange Place of Religion in Contemporary Art. Other of his works include scientific and non-art images, writing systems in archaeology, for instance, The Domain of Images, On Pictures and the Words that Fail Them. And some are about natural history, for instance, How to Use Your Eyes. And then there is a small category which includes Why Art Cannot be Taught, a Handbook for Art Students, and What Happened to Art Criticism. I think those are just plain ornery. His current projects include a series called "The Stone Summer Theory Institute," a book called Success and Failure in 20 th Century Painting, and another, Theories of Modernism and Post-Modernism in the Visual Art. A very busy man, and his Wikipedia posting needs updating if any of you would like to take a hand at that after this. Jim and I have decided that it will be a fairly short keynote address, something in excess of thirty minutes, because want to preserve the last part for the questions and answer. I have a feeling that the Q and A will be at least as good as the talk itself. And then you will be able to go right for the parts of his book that irritate you or please you the most. Okay? So, with no more ado, will you give a hand please to Jim Elkins? Thank you. Jim Elkins: Okay. Thank you very much. So we agreed this is not really going to be a keynote talk at all, because this is actually like an hour-plus talk. It is an ordinary kind of a keynote talk I suppose, but there is so much to discuss, and I have been hearing great things about the discussions that have been going on. I want to make sure that we leave lots and lots of time. So what I have done is, first of all, went up to my room, took out about half the slides, and second, I am just going to stop when we get on toward six o'clock no matter where we are. So there is not going to be any grand conclusion, which is probably a smart idea anyway. Okay, so a couple of points of reference for this talk: first of all, the book; and then talks that I was invited to after the book came out, especially from Christian institutions. These were a real eye opener for me. And all of the invitations I have gotten in the wake of the book except one are from Christian institutions. Some of the slides that I have, if I get to them, I put in intentionally in talks to those institutions to see if I could shock and dismay the people in those institutions. And I failed for an interesting reason which I am going to try to get too. And then there was a day-long panel discussion called "Re-enchantment" that at least a couple of you have been to. We are working on a book for this now. We had Boris Groys, the increasingly bizarre Terry [DuDuve] there talking about how to be post-Christian. I'm co-editing this book with David Morgan who was also at that event. This is going to be volume seven in this series called The Arts Seminar which, as I think some of you know, is a very inclusive kind of an art theory project in which we transcribe these conversations and then everyone gets to edit them to their heart's delight so that the transcript sounds nothing like what actually happened, and everybody sounds really intelligent and speaks at great length and says improbable things like, "I would like to mention the following seven points in my reply," and things that normal human beings don't really say. But at any rate, then we send it out for comments to 40 or 50 people who weren't at the event. And that is what we're doing right now. Third point of reference is a wonderful essay by a wonderful artist named Peter Petrovski who works in Poznan, Poland, and is about to come out with an English language translation of his book on postwar Eastern European art. This is a wonderful little essay which could be an amazing thing for you if you're not already aware of what has been going on in Poland, where artists who do sacrilegious works can actually be thrown in jail even today. And then some anecdotes from a trip I took to Malta earlier this year, in which I met, in the very, very tiny art community of Malta, which has only four hundred thousand people in it, artists who lead double lives. They have to work the Church, because there isn't anyone else there to give them jobs. So they have two modes. They have the Church mode, and then they have their real art mode. Basically this talk is in three parts. I am going to outline the problem, and then some examples of what I consider to be the gulfs of misunderstanding on the two sides, or three or four sides of this depending on how you count them, and then five models of the alienation of religion in contemporary art that come from the book. All the examples here follow on from the book. Only a few of them are actually from the book. And what I have done in taking out slides is just to try to get a little sampling of ones that I think would be good for our conversation. Okay, so first of all, just to outline the problem, and to put my cards on the table, I understand this has already caused trouble. There was a bit in the book-this is David Morgan's fault by the way, I would like to say, because it was David who read a version of this before it was published and said you can't write this book unless you at least try to come up with some kind of consensus definition of religion and spirituality for the purposes of the book only. And I guess the only thing I would say about this is that what really counts from my point of view is that what I would call spiritual, and I am not, I don't mind if terms get changed around, but in the book what I call, has as its essential characteristic, the word "partly." It's partly private and partly communicable. That seems to me to be a very important thing. Otherwise you're talking about mysticism or solipsism, and it becomes a different conversation. Given those kind of heuristic definitions, then my claim is basically that there is very little talk of religion in the art world, a little bit more talk of spirituality, but maybe not too much more. There are three forms of this absence. First of all, talk of religion is absent from magazines and journals, except when the art is critical of religion, as we all know. And is, all my art students in Chicago know, the quickest way to get to the headlines is to do something really irresponsible with some major religion. The trick is staying in the headlines if you do that. And then religion is absent from most of the central texts on modernism and post-modernism. Here of course, come immediately value questions, like who cares what the central texts are, and who reads them, and all the rest of that kind of thing, but at any rate it is. Some of you know I took as one of my two epigraphs this wonderful line from Tim Clark's book, Farewell to an Idea, "I will have nothing to do with a self-satisfied, leftist, claptrap of artists' substitute religion." That is great. We tried to invite him and a number of other people to our Reenchantment Event and they wouldn't participate. And without naming names, I will just say that someone as well known as he is said it would just be too painful to sit at a table in which anyone was going to talk about religion. So they wouldn't come no matter who it was. Then as my single example here, I would mention this text book: Art Since 1900, which is now the major default textbook for graduate students in art, art theory, art criticism, art history, 20 th century art. The four authors there, who I'm sure I don't need to go over this, they have equally little time for the idea of art as substitute religion or any of its compatible phrase. And then, religion is absent from pedagogy of studio art. This was one of the two main reasons that I wrote that book to begin with. The first reason being to try to breach these gulfs. But this was the second reason, because I noticed that students that I had, who were doing religious works or had something to say about religion, or maybe they were almost willing to say something about it, almost daring, they couldn't get any critiques. They were also not taught, art students in general are not taught, of course in any systematic way, about how religious ideas are expressed. And that is obviously a generalization. But that was the 5 certain part of a boardwalk, and instead did videos of the sunset. And then this woman, Arlene [Sachet], I don't know her so I don't know how to say her last name, does a wide range of kinds of sculptures but also sculptures that fit my fourth theme, in which details have been, in this case, not burned away, but simplified in order to make the worlds more accessible, or usable, or plausible, or believable, as repositories of religious belief. So, oh, okay, and then there's another one like this which has essays by Eleanor Hartney and some other people. She says in her essay, the contemporary world tends to see art and religions as enemies. So there are some places, some of these exhibitions will start out from that as a beginning point, and then try to do some bridge building. But, the general conclusion that I've drawn from, I would draw from these kinds of exhibitions is, when I say idiosyncratic, what I really mean to say is un-theorized. The boundaries of these kinds of enterprises are so unclear that sometimes there's not really, it seems unnecessary to actually call them faith, or something else like that. But they need to be, they could be re-conceptualized. The second theme here is about native styles. And by native styles here I mean all these things: regional, local, native, tribal, provincial, indigenous, are often acceptable in art world contexts. An example among thousands is this Peruvian artist...

International Handbooks of Religion and Education, 2009

Sydney Studies in Religion, Oct 29, 2008

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

J Beliefs Values Stud Relig E, Aug 1, 2009

ABSTRACT

Teachers College Record, 2004

Studies in Spirituality, 2008

49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keati... more 49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keating ACU National University Ltd ... unity− body, mind, and spirit in harmonious accord− which then became reflected into a wider social harmony creating, over ...

Australian Religion Studies Review, 2008

Journal of Beliefs & Values, 2009

ABSTRACT

Studies in Spirituality, Dec 31, 2008

International Handbooks of Religion and Education, 2009

According to Neil Postman, education should provide an alternative view to that which dominates s... more According to Neil Postman, education should provide an alternative view to that which dominates society so as to provide students with a more balanced outlook on life. This corrective role, Postman argues, needs to be built into a school’s curriculum. In the late sixties and early seventies, he saw this role as a subversive one, and argued that students should be allowed to question authority and to approach learning as an act of self-guided exploration. Ten years later, in response to what he saw as largely a commercial, mass-media driven society he promoted the idea of teaching as a conserving activity, and promoted the skills of critical analysis so that students could be made aware of manipulative self-interests acting within society. In his latest book in this progression, The End of Education (1995), his most radical, he continues his appraisal of education in a society that he feels has lost its identity and sense of moral direction. This time he makes the point that schools ...

Australian Religion Studies Review, 2008

International Handbooks of Religion and Education, 2009

According to Neil Postman, education should provide an alternative view to that which dominates s... more According to Neil Postman, education should provide an alternative view to that which dominates society so as to provide students with a more balanced outlook on life. This corrective role, Postman argues, needs to be built into a school’s curriculum. In the late sixties and early seventies, he saw this role as a subversive one, and argued that students should be allowed to question authority and to approach learning as an act of self-guided exploration. Ten years later, in response to what he saw as largely a commercial, mass-media driven society he promoted the idea of teaching as a conserving activity, and promoted the skills of critical analysis so that students could be made aware of manipulative self-interests acting within society. In his latest book in this progression, The End of Education (1995), his most radical, he continues his appraisal of education in a society that he feels has lost its identity and sense of moral direction. This time he makes the point that schools should not attempt to serve the public but rather ‘create’ a public; and that teachers need to make this their foremost responsibility. Postman’s own solution for this present predicament is for teachers to start with a vision. A vision of their students entering public life ‘imbued with confidence, a sense of purpose, a respect for learning, and tolerance’. And for this vision to become reality, he argues, two things are necessary, ‘the existence of shared narratives and the capacity of such narratives to provide an inspired reason for schooling’ (Postman, 1995, pp 17–18). In his elaboration of this position he places an emphasis on the word ‘inspired’. In his view, schools now need common ‘gods’ more than common goals. Postman then

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

PART I: KEYNOTE SPEAKER: FOUR REASONS …

49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keati... more 49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keating ACU National University Ltd ... unity− body, mind, and spirit in harmonious accord− which then became reflected into a wider social harmony creating, over ...

Sydney Studies in Religion, 1994

Brabazon's only claim to fame in Australian literature is one poem published in the 1956 edit... more Brabazon's only claim to fame in Australian literature is one poem published in the 1956 edition of The Oxford Book of Australian Verse edited by Judith Wright (p.129). There are no poems of his in any other anthology of comparable standard nor is there to be found any critical assessment of his work apart from the occasional book review. These facts indicate either a poet who has been neglected or on whose work has been found wanting. Certainly, Brabazon's output is not excessive but he has produced, along with other works, twelve collections of poetry and his major work Stay With God (1959) had a remarkable six hundred pre-publication sales which for an Australian poet writing in the fifties is quite exceptional. Part of this neglect may be due to the difficulty critics have found in coming to terms with Brabazon's thought and his eclectic references to saintly personages and metaphysical ideas. This has often given him the label of being a mystical poet which he flatl...

Sydney Studies in Religion, 2008

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

Studies in Spirituality

Institute of Chicago. His writing focuses on the history and theory of images and art, science, a... more Institute of Chicago. His writing focuses on the history and theory of images and art, science, and nature. Some of his books are exclusively on fine arts, for instance, What Painting Is, Why are our Pictures Puzzles, The Poetics of Perspective, and of course most famous and infamously right now, On the Strange Place of Religion in Contemporary Art. Other of his works include scientific and non-art images, writing systems in archaeology, for instance, The Domain of Images, On Pictures and the Words that Fail Them. And some are about natural history, for instance, How to Use Your Eyes. And then there is a small category which includes Why Art Cannot be Taught, a Handbook for Art Students, and What Happened to Art Criticism. I think those are just plain ornery. His current projects include a series called "The Stone Summer Theory Institute," a book called Success and Failure in 20 th Century Painting, and another, Theories of Modernism and Post-Modernism in the Visual Art. A very busy man, and his Wikipedia posting needs updating if any of you would like to take a hand at that after this. Jim and I have decided that it will be a fairly short keynote address, something in excess of thirty minutes, because want to preserve the last part for the questions and answer. I have a feeling that the Q and A will be at least as good as the talk itself. And then you will be able to go right for the parts of his book that irritate you or please you the most. Okay? So, with no more ado, will you give a hand please to Jim Elkins? Thank you. Jim Elkins: Okay. Thank you very much. So we agreed this is not really going to be a keynote talk at all, because this is actually like an hour-plus talk. It is an ordinary kind of a keynote talk I suppose, but there is so much to discuss, and I have been hearing great things about the discussions that have been going on. I want to make sure that we leave lots and lots of time. So what I have done is, first of all, went up to my room, took out about half the slides, and second, I am just going to stop when we get on toward six o'clock no matter where we are. So there is not going to be any grand conclusion, which is probably a smart idea anyway. Okay, so a couple of points of reference for this talk: first of all, the book; and then talks that I was invited to after the book came out, especially from Christian institutions. These were a real eye opener for me. And all of the invitations I have gotten in the wake of the book except one are from Christian institutions. Some of the slides that I have, if I get to them, I put in intentionally in talks to those institutions to see if I could shock and dismay the people in those institutions. And I failed for an interesting reason which I am going to try to get too. And then there was a day-long panel discussion called "Re-enchantment" that at least a couple of you have been to. We are working on a book for this now. We had Boris Groys, the increasingly bizarre Terry [DuDuve] there talking about how to be post-Christian. I'm co-editing this book with David Morgan who was also at that event. This is going to be volume seven in this series called The Arts Seminar which, as I think some of you know, is a very inclusive kind of an art theory project in which we transcribe these conversations and then everyone gets to edit them to their heart's delight so that the transcript sounds nothing like what actually happened, and everybody sounds really intelligent and speaks at great length and says improbable things like, "I would like to mention the following seven points in my reply," and things that normal human beings don't really say. But at any rate, then we send it out for comments to 40 or 50 people who weren't at the event. And that is what we're doing right now. Third point of reference is a wonderful essay by a wonderful artist named Peter Petrovski who works in Poznan, Poland, and is about to come out with an English language translation of his book on postwar Eastern European art. This is a wonderful little essay which could be an amazing thing for you if you're not already aware of what has been going on in Poland, where artists who do sacrilegious works can actually be thrown in jail even today. And then some anecdotes from a trip I took to Malta earlier this year, in which I met, in the very, very tiny art community of Malta, which has only four hundred thousand people in it, artists who lead double lives. They have to work the Church, because there isn't anyone else there to give them jobs. So they have two modes. They have the Church mode, and then they have their real art mode. Basically this talk is in three parts. I am going to outline the problem, and then some examples of what I consider to be the gulfs of misunderstanding on the two sides, or three or four sides of this depending on how you count them, and then five models of the alienation of religion in contemporary art that come from the book. All the examples here follow on from the book. Only a few of them are actually from the book. And what I have done in taking out slides is just to try to get a little sampling of ones that I think would be good for our conversation. Okay, so first of all, just to outline the problem, and to put my cards on the table, I understand this has already caused trouble. There was a bit in the book-this is David Morgan's fault by the way, I would like to say, because it was David who read a version of this before it was published and said you can't write this book unless you at least try to come up with some kind of consensus definition of religion and spirituality for the purposes of the book only. And I guess the only thing I would say about this is that what really counts from my point of view is that what I would call spiritual, and I am not, I don't mind if terms get changed around, but in the book what I call, has as its essential characteristic, the word "partly." It's partly private and partly communicable. That seems to me to be a very important thing. Otherwise you're talking about mysticism or solipsism, and it becomes a different conversation. Given those kind of heuristic definitions, then my claim is basically that there is very little talk of religion in the art world, a little bit more talk of spirituality, but maybe not too much more. There are three forms of this absence. First of all, talk of religion is absent from magazines and journals, except when the art is critical of religion, as we all know. And is, all my art students in Chicago know, the quickest way to get to the headlines is to do something really irresponsible with some major religion. The trick is staying in the headlines if you do that. And then religion is absent from most of the central texts on modernism and post-modernism. Here of course, come immediately value questions, like who cares what the central texts are, and who reads them, and all the rest of that kind of thing, but at any rate it is. Some of you know I took as one of my two epigraphs this wonderful line from Tim Clark's book, Farewell to an Idea, "I will have nothing to do with a self-satisfied, leftist, claptrap of artists' substitute religion." That is great. We tried to invite him and a number of other people to our Reenchantment Event and they wouldn't participate. And without naming names, I will just say that someone as well known as he is said it would just be too painful to sit at a table in which anyone was going to talk about religion. So they wouldn't come no matter who it was. Then as my single example here, I would mention this text book: Art Since 1900, which is now the major default textbook for graduate students in art, art theory, art criticism, art history, 20 th century art. The four authors there, who I'm sure I don't need to go over this, they have equally little time for the idea of art as substitute religion or any of its compatible phrase. And then, religion is absent from pedagogy of studio art. This was one of the two main reasons that I wrote that book to begin with. The first reason being to try to breach these gulfs. But this was the second reason, because I noticed that students that I had, who were doing religious works or had something to say about religion, or maybe they were almost willing to say something about it, almost daring, they couldn't get any critiques. They were also not taught, art students in general are not taught, of course in any systematic way, about how religious ideas are expressed. And that is obviously a generalization. But that was the 5 certain part of a boardwalk, and instead did videos of the sunset. And then this woman, Arlene [Sachet], I don't know her so I don't know how to say her last name, does a wide range of kinds of sculptures but also sculptures that fit my fourth theme, in which details have been, in this case, not burned away, but simplified in order to make the worlds more accessible, or usable, or plausible, or believable, as repositories of religious belief. So, oh, okay, and then there's another one like this which has essays by Eleanor Hartney and some other people. She says in her essay, the contemporary world tends to see art and religions as enemies. So there are some places, some of these exhibitions will start out from that as a beginning point, and then try to do some bridge building. But, the general conclusion that I've drawn from, I would draw from these kinds of exhibitions is, when I say idiosyncratic, what I really mean to say is un-theorized. The boundaries of these kinds of enterprises are so unclear that sometimes there's not really, it seems unnecessary to actually call them faith, or something else like that. But they need to be, they could be re-conceptualized. The second theme here is about native styles. And by native styles here I mean all these things: regional, local, native, tribal, provincial, indigenous, are often acceptable in art world contexts. An example among thousands is this Peruvian artist...

International Handbooks of Religion and Education, 2009

Sydney Studies in Religion, Oct 29, 2008

In Australian literature there has arguably been no figure more committed to a quest for the univ... more In Australian literature there has arguably been no figure more committed to a quest for the universal meaning of beauty and its relation to truth than Francis Brabazon. Indeed his life is a remarkable story of how a young, shy, farming boy living in an relatively isolated part of the Australian bush ends up staying in India for ten years as the poet-disciple of a person who declared himself to be God in human form, the Avatar, or in Sufi terms, the Rasool, the divine messenger, of this age.

J Beliefs Values Stud Relig E, Aug 1, 2009

ABSTRACT

Teachers College Record, 2004

Studies in Spirituality, 2008

49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keati... more 49 49 CONNECTING ART WITH SPIRITUALITY WITHIN THE INDIAN AESTHETICS OF ADVAITA VEDANTA Ross Keating ACU National University Ltd ... unity− body, mind, and spirit in harmonious accord− which then became reflected into a wider social harmony creating, over ...

Australian Religion Studies Review, 2008

Journal of Beliefs & Values, 2009

ABSTRACT