In the first parts of this study on the concept of the biological clock it has been investigated how it is used in the field of biorhythmology. The analysis of the contents of the concept is preceded by a survey of the current research in this field.There are two general hypotheses with respect to the ultimate origin of rhythmic phenomena: the Endogenous Timer Hypothesis and the Exogenous Timer Hypothesis. Within the Endogenous Timer Hypothesis two contrasting viewpoints with respect to the (...) structure of the biological clock can be distinguished, which have been called: the Discrete Entity view, and the Organizational view.It has been shown that in the application of the general clock-idea upon the organism a logical distortion is present. The organism is conceived tobe a clock and tohave a clock simultaneously.In anticipation of the analysis of the explanatory value of the concept of the biological clock in part II, it has been put forward that in a number of cases time-measurement can be considered as a superfluous element in the explanation of the phenomena involved.Finally it has been demonstrated that in the case of the Exogenous Timer Hypothesis the concept of the biological clock is not relevant. The Exogenous Timer Hypothesis has been compared with the Endogenous Timer Hypothesis with respect to the criterion of the principle of parsimony, orOccam's razor. (shrink)

Based on architectural projects which interpret literature as program we discuss design reasoning when no routine models of problem solving apply. We address three aspects of formulation: defining the design charge so that it can be retrospectively stated independent of the actual proposal; defining a language of formal operations; and defining the intrinsic aims of design that are only intimated through the proposal itself. The coherence of the project is a function of the way in which formal properties interact, and (...) the way in which they sustain analogical or metaphorical relationships to text: how the patterns of subdivision, connection, differentiation, positioning, movement or perception associated with built space relate to textual figures, concepts, structure, or narrative. The possibility of constructing architectural meaning in this way implies an underlying model of space as a morphic language which works primarily through the constitution of generic and significant relationships rather than the combination of previously objectified elements. The gradual articulation of the design charge is mediated by a process of diagramming. Diagrams express as spatial constructions the conditions and concepts abstracted from text; also, they act as notations of constructive operations which are themselves spatial. Diagrams can be abstractive or pictorial, dense or discrete. They document two aspects of an integral process of reasoning: First, an exploration of how concepts, whether directly, analogically or metaphorically transferred from text to shape, may relate to produce a more complex idea; second, how formal properties co-vary and how an emergent design proposal engages and activates a field of formal possibility. (shrink)

This paper questions the apparent silenc of Cassirer’s Philosophy of Symbolic Forms on the unconscious, in its double sense of the psychic structure and of the description of the imperceptible. Although Cassirer is engaged in a very fine phenomenological analysis of our experience of the world, under the prism of a critic of culture, and although he does not believe in the evidence of the self, the absence of the unconscious from his account shows precisely the force of his conceptualization (...) of the symbolic. Why and how does the theme of the unconscious absorb that of the symbolic? The article argues that the question has to be analyzed through “symbolic pregnance” (symbolische Prägnanz) and “concrescence” (Konkreszenz). Nonetheless, here, the concepts of “subject,” “reason,” and “representation” are considerably re-semantized and, therefore, displaced by the key concept of “symbol.” To analyze this problem, the prism of aesthetics will be fundamentally privileged. Symbolic aesthetics crystallizes these questions of perceptive phenomenology with a rare intensity, articulating the personal and the impersonal dimensions in a focusedway. The texts of Langer will help us to explain the field that Cassirer explored only in a discontinuous and fragmentary way. Our hypothesis is the following: when the double dimension (personal and impersonal) of the experience is intensified, not only does symbolic aesthetics go beyond the classical opposition between conscious and unconscious, but it also goes beyond the distinctions between form and affect, form and content, and formalism and expression. (shrink)

Summary It is about 100 Years ago that the German-American philosopher Susanne K. Langer started a bold and courageous appearance on the stage of consciousness-research - until then exclusively dominated by male and paternalistic figures. This contribution is to highlight SK Langers work and impact on the theory of consciousness, especially on her final three volume publication: “Mind. An Essay on Human Feeling” (1967, 1972, 1982) which, until now, has not been translated into German. What stands out in Langer’s work (...) is her intuitive closeness to many Gestalt-theorists and the overriding importance she attributes to symbolization in the specific make-up of the human mind. Her main focus is centered on presentative symbolics; meaning those early forms of human expression (prior or along the development of human language) in magic rituals, rhythm, music, painting and sculpturing, early collective work experience, formalized playing or funeral activities. Langers view on symbols goes far beyond the typical meaning of reference towards a much more sophisticated intertwinement of form, event and being in a matrix of “living tensions”. I would like to point out that her research is of important value to a revised thinking on mental health and mental crisis in reshaping the complex interaction between image, Gestalt and Symbol. (shrink)