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Les sources bibliques relatives aux rites concernant la pureté et l'impureté attestent que la pureté fut anxieusement cherchée dans le judaïsme ancien comme une façon de faire prévaloir les forces de la vie sur celles de la mort. Pureté et impureté, dont les modernes retiennent surtout les aspects anthropologiques, moraux et politiques, ne sont donc pas pensées comme des essences violemment exclusives l'une de l'autre. Il s'agit de forces en devenir qui peuvent s'altérer l'une l'autre. De nos jours, le désir de plaider la cause censée bénéfique des mélanges, en substitut d'une pureté jugée figée et menaçante, n'a-t-il pas cependant sa part d'illusions néfastes et destructrices ? Inversement, le souci de pureté défendu avec une âpreté redoutable et terrible, induit le désir de nier le devenir, de vouloir effacer les aléas de l'histoire et d'en réparer les tares. D'où son fanatisme. Dès lors, il faut analyser "l'autre pureté", une pureté animée par une tension créatrice et altérée par les mélanges qui lui permettent de veiller à l'oeuvre de la création et de faire grandir la vie, en soi et en autrui, sur tous les plans où elle s'exprime.

Purity (Philosophy) --- Purity, Ritual

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Biaisé par le désir, incompatible avec l'utilité et inaccessible à la morale, le sentiment de beauté n'existerait que pur, c'est-à-dire non entaché par les intérêts qui structurent les autres domaines de l'existence humaine. Ce qui trouble la beauté ne ferait ainsi que la dégrader. A rebours de ce présupposé omniprésent dans la tradition philosophique, les huit textes qui composent ce numéro prennent acte du caractère fondamentalement mêlé d'expériences qui, irréductibles à la contemplation, mobilisent pleinement le sens du beau en élaborant des façons inédites de se rapporter au sensible. En mettant à mal le dogme de la pureté et en remettant la beauté au cœur de nos préoccupations quotidiennes, les troubles qui assaillent la beauté depuis ses dehors font droit à de nouveaux personnages conceptuels dans le champ de l'esthétique : le fan, le supporter, le joueur, le fêtard... Au lieu de déplorer la dégradation de la beauté, ne faudrait-il pas penser la possibilité de son enrichissement ?

Aesthetics. --- Purity (Philosophy) --- Beau (esthétique) --- Pureté (philosophie)

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A proof of a theorem can be said to be pure if it draws only on what is 'close' or 'intrinsic' to that theorem. In this Element we will investigate the apparent preference for pure proofs that has persisted in mathematics since antiquity, alongside a competing preference for impurity. In Section 1, we present two examples of purity, from geometry and number theory. In Section 2, we give a brief history of purity in mathematics. In Section 3, we discuss several different types of purity, based on different measures of distance between theorem and proof. In Section 4 we discuss reasons for preferring pure proofs, for the varieties of purity constraints presented in Section 3. In Section 5 we conclude by reflecting briefly on purity as a preference for the local and how issues of translation intersect with the considerations we have raised throughout this work.

Mathematics --- Purity (Philosophy) --- Proof theory. --- Logic, Symbolic and mathematical. --- Philosophy.

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The concepts of purity and contamination preoccupied early modern Europeans fundamentally, structuring virtually every aspect of their lives, not least how they created and experienced works of art and the built environment. In an era that saw a great number of objects and people in motion, the meteoric rise of new artistic and building technologies, and religious upheaval exert new pressures on art and its institutions, anxieties about the pure and the contaminated - distinctions between the clean and unclean, sameness and difference, self and other, organization and its absence - took on heightened importance. In this series of geographically and methodologically wide-ranging essays, thirteen leading historians of art and architecture grapple with the complex ways that early modern actors negotiated these concerns, covering topics as diverse as Michelangelo's unfinished sculptures, Venetian plague hospitals, Spanish-Muslim tapestries, and emergency currency. The resulting volume offers surprising new insights into the period and into the modern disciplinary routines of art and architectural history.

Art, European. --- Art, Renaissance. --- Architecture, European. --- Architecture, Renaissance. --- Purity (Philosophy) --- Contamination (Psychology)

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The concepts of purity and contamination preoccupied early modern Europeans fundamentally, structuring virtually every aspect of their lives, not least how they created and experienced works of art and the built environment. In an era that saw a great number of objects and people in motion, the meteoric rise of new artistic and building technologies, and religious upheaval exert new pressures on art and its institutions, anxieties about the pure and the contaminated - distinctions between the clean and unclean, sameness and difference, self and other, organization and its absence - took on heightened importance. In this series of geographically and methodologically wide-ranging essays, thirteen leading historians of art and architecture grapple with the complex ways that early modern actors negotiated these concerns, covering topics as diverse as Michelangelo's unfinished sculptures, Venetian plague hospitals, Spanish-Muslim tapestries, and emergency currency. The resulting volume offers surprising new insights into the period and into the modern disciplinary routines of art and architectural history.

Art, European. --- Art, Renaissance. --- Architecture, European. --- Architecture, Renaissance. --- Purity (Philosophy) --- Contamination (Psychology) --- Art. --- architecture. --- contamination. --- materials. --- purity.