In the first part of this investigation we highlight two, seemingly irreconcilable, beliefs that suggest an impending crisis in the teaching, research, and practice of—primarily state-supported—mathematics: (a) the belief, with increasing, essentially faith-based, conviction and authority amongst academics that first-order Set Theory can be treated as the lingua franca of mathematics, since its theorems—even if unfalsifiable—can be treated as ‘knowledge’ because they are finite proof sequences which are entailed finitarily by self-evidently Justified True Beliefs; and (b) the slowly emerging, but (...) powerfully rooted in economic imperatives, belief that only those Justified True Beliefs can be treated as ‘knowledge’ which are, further, categorically communicable as Factually Grounded Beliefs—hence as comprehensible pre-formal ‘mathematical truths’—by any intelligence that lays claims to a mathematical lingua franca. We argue that this seeming irreconcilability merely reflects a widening chasm between an increasing under-estimation of the value to society of ‘semantic arithmetical truth’, and an increasing over-estimation of the value to society of ‘syntactic set-theoretical provability’; a chasm which must be narrowed and bridged explicitly. We thus proffer a Complementarity Thesis which seeks to recognize that mathematical ‘provability’ and mathematical ‘truth’ need to be interdependent and complementary, ‘evidence-based’, assignments-by-convention to the formulas of a formal mathematical language; where (a) the goal of mathematical ‘proofs’ may be viewed as seeking to ensure that any mathematical language intended to formally represent our pre-formal conceptual metaphors and their inter-relatedness is unambiguous, and free from contradiction; whilst (b) the goal of mathematical ‘truths’ must be viewed as seeking to ensure that any such representation does, indeed, uniquely identify and adequately represent such metaphors and their inter-relatedness. Our thesis is that, by universally ignoring the need to introduce goal (b) in our curriculum, the teaching of, and research in, mathematics at the post-graduate level cannnot justify its value to society beyond the mere intellectual stimulation of individual minds. In the second part we appeal to some recent—and hitherto unsuspected—unarguably constructive Tarskian interpretations, of the first-order Peano Arithmetic PA, which establish PA as both finitarily consistent, and categorical. Since we also show that the second order subsystem ACA0 of Peano Arithmetic and PA cannot both be assumed provably consistent, we conclude that there can be no mathematical, or meta-mathematical, proof of consistency for Set Theory. Hence the theorems of any Set Theory are not sufficient for distinguishing between (i) what we can believe to be a ‘mathematical truth’; (ii) what we can evidence as a ‘mathematical truth’; and (iii) what we ought not to believe is a ‘mathematical truth’; whilst the theorems of the first-order Peano Arithmetic PA are sufficient for distinguishing between (i), (ii) and (iii). We conclude from this that the holy grail of mathematics ought to be ‘arithmetical truth’, not ‘set-theoretical proof’. (shrink)

In this paper I take it for granted that legal institutions are artifacts. In general, this can very well be considered a trivial thesis in legal philosophy. As trivial as this thesis may be, however, to my knowledge no legal philosopher has attempted an analysis of the peculiar reality of legal phenomena in terms of the reality of artifacts, and this is particularly striking because there has been much discussion about artifacts in general philosophy (specifically analytic metaphysics) over the last (...) twenty years. In particular, the concepts of intention, function, plan of action, and history are in competition to explain the ontology of artifacts, and a similar competition can be found at the core of legal theory. Such a striking parallelism between the domain of artifacts and that of legal institutions is a clue for legal ontology that deserves further attention: I will offer my own interpretation of this parallelism in the first part of this paper (Sections 2 and 3). In providing a theory of legal institutions as artifacts, one could be led to the conclusion that law is essentially an artificial phenomenon, something which does not bear any significant relationship to the natural domain. However, I think that such a conclusion would be mistaken. In fact, this is the second thesis I want to explore in this paper: not only that legal institutions are artifacts, but also that they can be artifacts which in some sense "mirror," or imitate, some descriptions of the natural, pre-social reality we live in. What I would like to show is not that legal institutions are "natural" in the sense that they have some feature which is not human-dependent, as some natural law theorists would say, but rather that their conceptual content can depend on our conceptualization of the natural domain despite being entirely artifactual. This is what I will call the "institutional mimesis" behind several important instances of legal artifacts, and I will deal with it in the second part of this paper (Sections 4 and 5). (shrink)

his article will focus on the mechanistic origins of the computer metaphor, which forms the conceptual framework for the methodology of the cognitive sciences, some areas of artificial intelligence and the philosophy of mind. The connection between the history of computing technology, epistemology and the philosophy of mind is expressed through the metaphorical dictionaries of the philosophical discourse of a particular era. The conceptual clarification of this connection and the substantiation of the mechanistic components of the computer metaphor (...) is the main goal of this article. The statement is substantiated that the invention of mechanical computing devices, having a long history in the European engineering tradition, formed the prerequisites for the emergence of machine functionalism in the modern philosophy of mind. The idea of multiple implementation stems from the principle that a formal symbol system prescribes rules for the use of rational abstractions through the physical architecture of a computational engine. The article considers the reasons for the conceptual shift and reveals the semantic foundations for the metaphorical transfer of the properties of abstract objects from the theory of automata to the field of modern philosophy of mind. The criticism and ways of protecting the philosophical program of machine functionalism are analyzed by changing the content of the metaphor “Mind as machine”. The reasons for the stability of the information-computer approach in cognitive sciences are also disclosed and explained. (shrink)

The overreliance on verbal models and theories in psychology has been criticized for hindering the development of reliable research programs (Harris, 1976; Yarkoni, 2020). We demonstrate how the conceptual space framework can be used to formalize verbal theories and improve their precision and testability. In the framework, scientific concepts are represented by means of geometric objects. As a case study, we present a formalization of an existing three-dimensional theory of emotion which was developed with a spatial metaphor in mind. (...) Wundt posits that the range of human emotion can be represented along three axes of basic emotions (pleasure/displeasure, excitement/inhibition, tension/relaxation), just as color vision can be represented using three basic colors. We use dimensions to represent basic emotions, points to represent emotional states, and regions to represent broader emotional concepts. We then compare our formalization to an existing structuralist formalization of Wundt’s theory. Further, we discuss the empirical predictions that our formalization generates, such as comparisons of similarity and intensity. We conclude by demonstrating how the tools developed in the conceptual space framework can be used to formulate a theory of emotion based on empirical observation. (shrink)

The present paper aims to broaden the current understanding of students’ misconception of scientific terminology by identifying the gaps between Arabic and English scientific terminologies and between everyday language and scientific language. The paper compares the polysemy, prototypes, and motivating factors of English energy with those of Arabic طَاقَة (ṭāqa), with more focus on students’ prior knowledge. The study employs Lakoff’s (1987) idealized cognitive models and Rosch’s (1975) prototype theory to reveal the radial members of both categories, i.e., energy and (...) طَاقَة (ṭāqa), and to explain the kinds of cognitive mechanisms that motivate the extension as well as understanding of the meanings of these terms. To this end, the study uses several English and Arabic dictionaries, lexical databases and corpora. This is to explore all the meanings, prototypes and motivating factors of the terms under investigation. The results show that the terms energy and طَاقَة (ṭāqa) overlap in prototypical meanings and motivating factors but differ in less prototypical and peripheral meanings. English and Arabic learners may then face similar issues in learning scientific concepts due to the difference between their pre-existing knowledge and scientific language. (shrink)

As an explicit organizing metaphor, memory aid, and conceptual framework, the prefrontal cortex may be viewed as a five-member ‘Executive Committee,’ as the prefrontal-control extensions of five sub-and-posterior-cortical systems: the ‘Perceiver’ is the frontal extension of the ventral perceptual stream which represents the world and self in object coordinates; the ‘Verbalizer’ is the frontal extension of the language stream which represents the world and self in language coordinates; the ‘Motivator’ is the frontal cortical extension of a subcortical extended-amygdala stream (...) which represents the world and self in motivational/emotional coordinates; the ‘Attender’ is the frontal cortical extension of a subcortical extended-hippocampal stream which represents the world and self in spatiotemporal coordinates and directs attention to internal and external events; and the ‘Coordinator’ is the frontal extension of the dorsal perceptual stream which represents the world and self in body- and eye-coordinates and controls willed action and working memory. This tutorial review examines the interacting roles of these five systems in perception, working memory, attention, long - term memory, motor control, and thinking. (shrink)

We propose that there are four fundamental kinds of metaphor that are uniquely mapped onto specific brain ‘‘networks’’ and present preliterate (i.e., evolutionary, including before the appearance of written language in the historical record), prelinguistic (i.e., developmental, before the appearance of speech in human development), and extralinguistic (i.e., neuropsychological, cognitive) evidence supportive of this view. We contend that these basic metaphors are largely nonconceptual and entail (a) perceptual–perceptual, (b) cross-modal, (c) movement–movement, and (d) perceptual-affective mappings that, at least, in (...) the initial stages of processing may operate largely outside of conscious awareness. In opposition to our basic metaphor theory (BmT), the standard theory (SmT) maintains that metaphor is a conceptual mapping from some base domain to some target domain and/or represents class-inclusion (categorical) assertions. The SmT captures aspects of secondary or conceptual metaphoric relations but not primary or basic metaphoric relations in our view. We believe our theory (BmT) explains more about how people actually recognize or create metaphoric associations across disparate domains of experience partly because they are ‘‘pre-wired’’ to make these links. (shrink)

Studies on difficulties in understanding scientific terms have shown that the problem is more serious among non-Western learners. The main reasons for this are the learners' pre-existing knowledge of scientific terms, their native language incommensurability with Western languages, and the polysemy of the words used to denote scientific concepts. The current study is an analysis of the conceptualisation of scientific concepts in two culturally different languages, i.e. Arabic and French, which represent a non-Western language and a Western language respectively. Physics (...) concepts which are considered as some of the most challenging concepts for non-Western languages (Loo 2005; Aranador 2005) were selected for analysis. To this end, the terms that refer to two physics concepts, "weight" and "mass" in Arabic وَزْن (wazn) and كُتْلَة (kutla) and in French poids and masse were semantically analysed. The analysis of the concepts in both languages is informed by the prototype theory by Rosch (1973; 1975), idealised cognitive models (ICMs) by Lakoff (1987), and conceptual metaphor and conceptual metonymy by Lakoff and Johnson (2003). The data for analysis were retrieved from two comparable Arabic and French corpora, namely the ArabiCorpus and the Concordancier-Corpus Français. The results suggest that there are both similarities and differences between the Arabic and French concepts in terms of meanings, prototypes, and metaphorical as well as metonymic semantic extensions. These findings support the argument that the human conceptual system is related to our environmental and cultural experiences and also importantly, validate previous claims on the need for educators to be cognizant of the culturally relevant meanings of scientific words found in everyday language that may impede learners' understanding of scientific concepts. (shrink)

Contemporary philosophy and theoretical psychology are dominated by an acceptance of content-externalism: the view that the contents of one's mental states are constitutively, as opposed to causally, dependent on facts about the external world. In the present work, it is shown that content-externalism involves a failure to distinguish between semantics and pre-semantics---between, on the one hand, the literal meanings of expressions and, on the other hand, the information that one must exploit in order to ascertain their literal meanings. It is (...) further shown that, given the falsity of content-externalism, the falsity of the Computational Theory of Mind (CTM) follows. It is also shown that CTM involves a misunderstanding of terms such as "computation," "syntax," "algorithm," and "formal truth." Novel analyses of the concepts expressed by these terms are put forth. These analyses yield clear, intuition-friendly, and extensionally correct answers to the questions "what are propositions?, "what is it for a proposition to be true?", and "what are the logical and psychological differences between conceptual (propositional) and non-conceptual (non-propositional) content?" Naively taking literal meaning to be in lockstep with cognitive content, Burge, Salmon, Falvey, and other semantic externalists have wrongly taken Kripke's correct semantic views to justify drastic and otherwise contraindicated revisions of commonsense. (Salmon: What is non-existent exists; at a given time, one can rationally accept a proposition and its negation. Burge: Somebody who is having a thought may be psychologically indistinguishable from somebody who is thinking nothing. Falvey: somebody who rightly believes himself to be thinking about water is psychologically indistinguishable from somebody who wrongly thinks himself to be doing so and who, indeed, isn't thinking about anything.) Given a few truisms concerning the differences between thought-borne and sentence-borne information, the data is easily modeled without conceding any legitimacy to any one of these rationality-dismantling atrocities. (It thus turns out, ironically, that no one has done more to undermine Kripke's correct semantic points than Kripke's own followers!). (shrink)

Conceptual metaphors have received much attention in research on discourse about infectious diseases in recent years. Most studies found that conceptual metaphors of war dominate media discourse about disease. Similarly, a great deal of research has been undertaken on the new coronavirus, i.e., COVID-19, especially in the English news discourse as opposed to other languages. The present study, in contrast, analyses the conceptual metaphors used in COVID-19 discourse in French-language newspapers. The study explored the (...) linguistic metaphors used in COVID-19 discourse in these newspapers and conceptual metaphors that underlie and motivate them, using a conceptual metaphor theory framework (CMT). Therefore, two North African French-language newspapers, namely Libération, published in Morocco, and La Presse de Tunisie, published in Tunisia, formed the corpus of the current study. The results showed that the most frequent framing of COVID-19 was in terms of WAR, followed by DISASTER and KILLER, respectively. (shrink)

Conceptual Metaphor Theory makes some strong claims against so-called Classical Theory which spans the accounts of metaphors from Aristotle to Davidson. Most of these theories, because of their traditional literal-metaphorical distinction, fail to take into account the phenomenon of conceptual metaphor. I argue that the underlying mechanism for explaining metaphor bears some striking resemblances among all of these theories. A mapping between two structures is always expressed. Conceptual Metaphor Theory insists, however, that the literal-metaphorical distinction of (...) Classical Theories is empirically wrong. I claim that this criticism is based rather on terminological decisions than on empirical issues. Conceptual Metaphor Theory focusses primarily on conventional metaphors and struggles to extend its mechanism to novel metaphors, whereas Classical Theories focus on novel metaphors and struggle to extend their mechanisms to conventional metaphors. Since all of these theories study metaphors from the synchronic point of view, they are unable to take into account any semantic change. A diachronic perspective is what we need here, one which would allow us to explain the role of metaphor in semantic change and the development of language in general. (shrink)

Although the Four Colour Theorem is passe, we give an elementary pre-formal proof that transparently illustrates why four colours suffice to chromatically differentiate any set of contiguous, simply connected and bounded, planar spaces; by showing that there is no minimal 4-coloured planar map M. We note that such a pre-formal proof of the Four Colour Theorem highlights the significance of differentiating between: (a) Plato's knowledge as justified true belief, which seeks a formal proof in a first-order mathematical (...) language in order to justify a belief as true; and (b) Piccinini's knowledge as factually grounded belief, which seeks a pre-formal proof, in Pantsar's sense, in order to justify the axioms and rules of inference of a first-order mathematical language which can, then, formally prove the belief as justifiably true under a well-defined interpretation of the language. (shrink)

In modern Russian society, it is possible to trace the division into citizens who support the reforms of the education system, carried out over the past 20 years, and their ideological opponents. The purpose of the article is to identify the grounds of this social conflict and the failure of the reforms at the level of public consciousness. The author argues that the discrepancy between conceptual education metaphors guiding the vector of education policy causes a different understanding of (...) the essence, goals and objectives of education, which leads to social conflict and dysfunction of the system. The article seeks to identify the leading conceptual metaphors of education at the regulatory level and in the citizens’ consciousness; to elucidate of the values constituting the core of each metaphor; to compare the found metaphors with the leading philosophical approaches to education; to detect other conceptual metaphors; and, finally, to suggest recommendations for resolving the conflict. The two found leading metaphors of education in modern Russia contradict at the axiological level, which leads to social conflict. The author sees a solution in adopting philosophic-anthropological approach and, according to the results of the survey, the corresponding conceptual metaphors of education as construction and educational journey. (shrink)

Andrew Wiles' analytic proof of Fermat's Last Theorem FLT, which appeals to geometrical properties of real and complex numbers, leaves two questions unanswered: (i) What technique might Fermat have used that led him to, even if only briefly, believe he had `a truly marvellous demonstration' of FLT? (ii) Why is x^n+y^n=z^n solvable only for n<3? In this inter-disciplinary perspective, we offer insight into, and answers to, both queries; yielding a pre-formal proof of why FLT can be treated as a (...) true arithmetical proposition (one which, moreover, might not be provable formally in the first-order Peano Arithmetic PA), where we admit only elementary (i.e., number-theoretic) reasoning, without appeal to analytic properties of real and complex numbers. We cogently argue, further, that any formal proof of FLT needs---as is implicitly suggested by Wiles' proof---to appeal essentially to formal geometrical properties of formal arithmetical propositions. (shrink)

Conceptual metaphor provides a potentially powerful counseling framework, generalizable across theoretical orientations. According to the conceptual perspective, metaphor is not merely a matter of language, but is an indispensable dimension of human understanding and experience whereby more abstract ideas (like relationships) are understood in terms of more concrete experiences (like journeys). Consequently, when a couple in counseling says, “we're just spinning our wheels,” they are not only using a common colloquial expression, but also giving information about how they (...) conceptualize their relationship. This article provides a theoretical foundation for use of conceptual metaphor and offers examples of its potential for counseling. (shrink)

Various results show the ‘formal equivalence’ of kin and group selectionist methodologies, but this does not preclude there being a real and useful distinction between kin and group selection processes. I distinguish individual- and population-centred approaches to drawing such a distinction, and I proceed to develop the latter. On the account I advance, the differences between kin and group selection are differences of degree in the structural properties of populations. A spatial metaphor provides a useful framework for thinking about (...) these differences: kin and group selection may be conceptualized as large, overlapping regions of K - G space. I then consider some implications of the account, defend it from possible objections, and further argue that the structural features characteristic of both kin and group selection may recur at multiple levels of biological organization. (shrink)

The theses in this book are: 1) the tension between the Leibnizian theory of the tropes and their use is resolved in a "pragmatic of discourse" that gives the metaphor a richer dimension than the theorized one, that is, that of "a mechanism capable of combining elements coming from different conceptual spaces into a new metaphorical conceptual space, 'shapeless' to which the metaphor itself provides an adequate language to describe and structure it"; 2) the role of metaphors (...) is placed for Leibniz in the context of a 'multi-method' idea that combines the inventive and the formalizing moment and allows for a multiplicity of directions; 3) the Leibniz system is organized according to a 'logic' that is not deductive but analogical; 4) the valid relations in the system are not only connections of a logical nature; on the contrary, the organization is 'reticular', and the primacy of a relation depends from time to time on the prevalence assigned to a metaphor according to the problem being faced; 5) Leibniz's central metaphors are "emerging parts of a wider submerged translation", i.e. they are both expression and conceptualizing vehicle of a cognitive strategy that wants to govern the complexity of knowledge by organizing it around themes; this strategy is alternative to the Cartesian formulation of "Method" based on the disjunction of objects and notions and instead gives philosophical expression to the Baroque sense of the constant mutability that rules the world. (shrink)

A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a wave function in Hilbert space. The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered. A series of formal definitions is deduced from this for: “representation”, “reality”, “language”, “ontology”, etc. All are based on Hilbert space. A few statements (...) about a quantum computer are implied: The sodefined reality is inherent and internal to it. It can report a result only “metaphorically”. It will demolish transmitting the result “literally”, i.e. absolutely exactly. A new and different formal definition of metaphor is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above. The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought. Four areas of cognition are unified as different but isomorphic interpretations of the mathematical model based on Hilbert space. These are: quantum mechanics, frame semantics, formal semantics by means of quantum computer, and the theory of metaphor in linguistics. (shrink)

In this essay, our goal is to discover science in Martin Heidegger's Introduction to Metaphysics, lecture notes for his 1935 summer semester course, because, after all, his subject is metaphysica generalis, or ontology, and this could be construed as a theory of the human brain. Here, by means of verbatim quotes from his text, we attempt to show that indeed these lectures can be viewed as suggestion for an objective scientific theory of human perception, the human capacity for deciphering phenomena, (...) ie. hermeneutics in its broadest sense. His added notes from the 1953 edition, all of which are comments, not corrections, imply that he never abandoned these thoughts on metaphysics, despite all of his utterances about a need to overcome it, and their popular interpretations to that effect. In his presentation, he further develops the colorful and intuitive style, an hermeneutic language, that he had created in his earlier work Being and Time. Of human existence he speaks in such expressions as being-there -- ``Dasein" -- and being-in-the-world, the latter term no longer explicit in the 1935 lectures. The lectures can be read as a pre-scientific analysis of how man, being-there, perceives his environment, artfully managing to deal with the manifold challenges posed by the phenomenal structures of the universe. Man attentively recognizes and deciphers their pre-linguistic contents and, while trying to make sense of it all, puts into words his awareness. There are numerous passages in Heidegger's work where he in fairly concrete terms provides us with hints for a perceptive science that, as it turns out and is demonstrated below in this essay, can be explained in terms of recent advances in neuroscience. It would be implausible, even unthinkable, unimaginable, for there not to be found essential agreement between on one hand his philosophical insights gained by hermeneutics of Dasein, into how our brain functions to let us know what's happening & on the other hand, scientific discoveries obtained through anatomy, EEG, fMRI, TMS, electrode implants, etc, of brain structures & functions employed in perception of the momentary scene. A nexus between science and philosophy is provided in Heidegger's definitive treatment of the Logos, here interpreted as a structural version of Platonic forms (Burchard, 2014). This allows for neurolinguistic brain functions to serve as meta-context for Heidegger's being-in-the-world. The logical functions of Dasein's anatomical brain are performed by the logos machine, formerly the human soul, using top-down processing based on a global context, the noumenal cosmos which humans maintain internally. Heidegger's 1942/43 winter semester lectures Parmenides extend in unbroken fashion his 1935 work, proving that he never abandoned, as is widely claimed, his metaphysical avenue of thought. (shrink)

Like others who work with language, many lawyers no doubt appreciate good kennings. However, metaphors also play a much deeper role in thought and law than style, ornament, or verbal virtuosity. As we shall see, metaphors play a necessary role in our categories of thought. As a result, metaphors are a necessary part of thought itself, including legal thought.

We undeniably live in an information age—as, indeed, did those who lived before us. After all, as the cultural historian Robert Darnton pointed out: ‘every age was an age of information, each in its own way’ (Darnton 2000: 1). Darnton was referring to the news media, but his insight surely also applies to the sciences. The practices of acquiring, storing, labeling, organizing, retrieving, mobilizing, and integrating data about the natural world has always been an enabling aspect of scientific work. Natural (...) history and its descendant discipline of biological taxonomy are prime examples of sciences dedicated to creating and managing systems of ordering data. In some sense, the idea of biological taxonomy as an information science is commonplace. Perhaps it is because of its self-evidence that the information science perspective on taxonomy has not been a major theme in the history and philosophy of science. The botanist Vernon Heywood once pointed out that historians of biology, in their ‘preoccupation with the development of the sciences of botany and zoology… [have] diverted attention from the role of taxonomy as an information science’ (Heywood 1985: 11). More specifically, he argued that historians had failed to appreciate how principles and practices that can be traced to Linnaeus constituted ‘a change in the nature of taxonomy from a local or limited folk communication system and later a codified folk taxonomy to a formal system of information science [that] marked a watershed in the history of biology’ (ibid.). A similar observation could be made about twentieth-century philosophy of biology, which mostly skipped over practical and epistemic questions about information management in taxonomy. The taxonomic themes that featured in the emerging philosophy of biology literature in the second half of the twentieth century were predominantly metaphysical in orientation. This is illustrated by what has become known as the ‘essentialism story’: an account about the essentialist nature of pre- Darwinian taxonomy that used to be accepted by many historians and philosophers, and which stimulated efforts to document and interpret shifts in the metaphysical understanding of species and (natural) classification (Richards 2010; Winsor 2003; Wilkins 2009). Although contemporary debates in the philosophy of taxonomy have moved on, much discussion continues to focus on conceptual and metaphysical issues surrounding the nature of species and the principles of classification. Discussions centring on whether species are individuals, classes, or kinds have sprung up as predictably as perennials. Raucous debates have arisen even with the aim of accommodating the diversity of views: is monism, pluralism, or eliminativism about the species category the best position to take? In addition to these, our disciplines continue to interrogate what is the nature of these different approaches to classification: are they representational or inferential roles of different approaches to classification (evolutionary taxonomy, phenetics, phylogenetic systematics)? While there is still much to learn from these discussions—in which we both actively participate—our aim with this topical collection has been to seek different entrypoints and address underexposed themes in the history and philosophy of taxonomy. We believe that approaching taxonomy as an information science prompts new questions and can open up new philosophical vistas worth exploring. A twenty-first century information science turn in the history and philosophy of taxonomy is already underway. In scientific practice and in daily life it is hard to escape the imaginaries of Big Data and the constant threats of being ‘flooded with data’. In the life sciences, these developments are often associated with the socalled bioinformatics crisis that can hopefully be contained by a new, interdisciplinary breed of bioinformaticians. These new concepts, narratives, and developments surrounding the centrality of data and information systems in the biological and biomedical sciences have raised important philosophical questions about their challenges and implications. But historical perspectives are just as necessary to judge what makes our information age different from those that preceded us. Indeed, as the British zoologist Charles Godfray has often pointed out, the piles of data that are being generated in contemporary systematic biology have led to a second bioinformatics crisis, the first being the one that confronted Linnaeus in the mid-18th century (Godfray 2007). Although our aim is to clear a path for new discussions of taxonomy from an information science-informed point of view, we continue where others in the history, philosophy, and sociology of science have already trod. We believe that an appreciation of biological taxonomy as an information science raises many questions about the philosophical, theoretical, material, and practical aspects of the use and revision of biological nomenclatures in different local and global communities of scientists and citizen scientists. In particular, conceiving of taxonomy as an information science directs attention to the temporalities of managing an accumulating data about classified entities that are themselves subject to revision, to the means by which revision is accomplished, and to the semantic, material, and collaborative contexts that mediate the execution of revisions. (shrink)

The paper outlines a tentative genealogy of the Platonic metaphysics of sight by thematizing pre-Platonic thought, particularly Heraclitus and Parmenides. By “metaphysics of sight” it understands the features of Platonic-Aristotelian metaphysics expressed with the help of visual metaphors. It is argued that the Platonic metaphysics of sight can be regarded as the result of a synthesis of the Heraclitean and Parmenidean approaches. In pre-Platonic thought, the visual paradigm is still marginal. For Heraclitus, the basic structure of being is its (...) discursive articulation (logos) into conceptual pairs of binary opposites, an articulation that at the same time binds differences together into a tensional unity. The fundamental grasping of this ultimate unity-in-difference is conceived primarily through acoustic terms as a non-sensory “hearing.” For Parmenides, the ultimate unity of contraries is based on the capacity of thinking (noos) to intend anything as present; in fragment B 4, the exclusive relationship of thinking to intelligible presence is finally visualized in terms of a seeing or looking (leusso). (shrink)

The aim of this paper is to account for the (metaphorical) movement of the property of being present (or presentness) within the so-called Moving Spotlight Theory (MST). I will be leveraging the key argument by Emanuele Severino’s masterpiece, 'La Gloria' (2001), according to which it is impossible that a (maximal consistent) state of affairs begins to appear and lasts forever in our experience. After a brief overview of the MST’s main tenets (§1.1), I argue that Severino’s ontology might be interpreted (...) as a sort of MST (§1.2), following the hint by Federico Perelda (2017). Thereafter, I briefly recall Severino’s original argument in his own jargon, also proposing English lexical and conceptual translations of the main Italian phrases (§1.3). Then, I propose both a semi-formalization of Severino’s argument (§2.1) and a full formalization by means of temporal logic (§2.2). Finally, I assess all the three versions of the argument, concluding that my formalization might account for the movement of presentness in a non-metaphorical way (§2.3). (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Within the framework of historical epistemology (G. Canguilhem, M. Foucault, L. Loison) the key concepts of a scientific discipline are considered as historically and culturally contingtent, that is, predetermined by outside factors rather than by the internal logic of the development of science. A fundamental attempt to demonstrate the contingency of the concept of “genetic information” was made in 2000 by Lily Kay, who argues that there was an “epistemic rupture” between this concept and the previous biological discourse of “specificity”. (...) As I. A. Kuzin has recently demonstrated, this work is essential not only for the history of biology, but also for the methodology of history of science and for modern biology as well. This paper contains a critical approach to both works. The sociocultural (externalist) conceptualizations of the history of biology contain serious difficulties and contradictions that internalism can successfully cope with. Being an explanans, “discourse” is not able to explain the key features of the history of deciphering the genetic code. “Discourse”, “concept” and “metaphor” of information are confused; two separated phases of the deciphering the code are separated groundlessly as “formal” and “material” stages; the transition from syntactic aspect of information to semantic one (from the “cipher” metaphor to the “code” metaphor) is at least problematic. The internalist approach preserves the idea of the contingency of the concept of information (in the form of methodological contingency instead of historical and cultural one), and at the same time incorporates it into the internal development of genetics and molecular biology. (shrink)

The purpose of this article is to present several immediate consequences of the introduction of a new constant called Lambda in order to represent the object ``nothing" or ``void" into a standard set theory. The use of Lambda will appear natural thanks to its role of condition of possibility of sets. On a conceptual level, the use of Lambda leads to a legitimation of the empty set and to a redefinition of the notion of set. It lets also clearly (...) appear the distinction between the empty set, the nothing and the ur-elements. On a technical level, we introduce the notion of pre-element and we suggest a formal definition of the nothing distinct of that of the null-class. Among other results, we get a relative resolution of the anomaly of the intersection of a family free of sets and the possibility of building the empty set from ``nothing". The theory is presented with equi-consistency results . On both conceptual and technical levels, the introduction of Lambda leads to a resolution of the Russell's puzzle of the null-class. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various kinds (...) of metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

The purpose of this article is to introduce an innovative approach to the theoretical debate of the last two centuries on how to appropriately conceptualize modern democracy. The main argument that is being put forward by the analysis is that the common reliance on the assumption of pre-modern political philosophy, that democracy is a certain type of political regime or at least a form of rule, has become insufficient to cover the influence and scope of its modern meaning and practical (...) use. Political theory faces the risk of becoming misguided and prejudiced, if the problem of re-conceptualizing democracy is not taken seriously into account. The article tends to offer new insights on the ongoing democratic debate by focusing on one simple question: can modern democracy be understood in terms of a political regime or should it be viewed as a distinct entity? The field of study relevant to our analysis of democracy ranges from Enlightenment thinkers, such as J. J. Rousseau and Voltaire, to XIX–XX century political philosophers (like A. de Tocqueville and C. Schmitt) and some contemporary theorists, like P. Manent. The article starts with explanations, why it is important to look deeper into the conceptual difficulties of modern democracy and why political philosophy and its theories on political regimes are crucial for such a task. Parts 3–5 of the analysis tend to prove that the only way to appropriately understand modern democracy is to identify and question its basic assumptions: the sovereignty of the people and social equality. The final part of the article – part 6 – offers a critique of understanding modern democracy as a political regime. The critique identifies three main theoretical problems, inherent to the discussion on modern democracy, which make it difficult to avoid contradictions when applying the name “democratic” to various political regimes. The article concludes that: First, democracy is not a political regime in a pre-modern sense of the term, which is an assumption still widely taken for granted in political theory. Democracy should be seen as a universal principle of legitimization of power, which can be applied by various regimes. Second, political philosophy faces the danger of adopting an oversimplified understanding of democracy as merely an institutional form of rule (a view perpetuated by social sciences); as well as the danger of conceptualizing democracy as a substance-free and abstract ideal, applicable to all forms of government. Both of these concepts fail to acknowledge the scope of democracy and thus should not be seen as satisfactory. Third, theoretical discussions on democracy suffer from three conceptual shortcomings, which make it impossible to speak about democracy as a political regime. The three problems are: 1. a tendency to see democracy as an ideal concept with no need of practical grounding; 2. making democracy a formal concept with no need of references to its normative nor positive substance; 3. making democracy a pseudo-religious entity by imitating structural elements of Christian religion: faith in a universal nature of humans, an all-powerful sovereign (the people), messianic mission. Lastly, the article generalizes that political philosophy has an obligation to demystify the concept of democracy in order to re-emerge discussions about the substance of different political regimes. For this purpose the concept of loyalty should be taken into account. If we want to prove that a certain state corresponds to a certain political regime, we must try to understand why its subjects maintain loyalty to a specific form of rule. Only unprejudiced political philosophy is capable of such a task, that’s why it should avoid taking the concept of democracy for granted. (shrink)

In order to understand both consciousness and the Freudian unconscious we need to understand the notion of innerness that we apply to the mind. We can partly do so via the use of the theory of conceptual metaphor, and this casts light on a number of related topics.

The American philosopher of science Kuhn, in the 1980s, studied the scientific revolution in depth from a unique perspective of the philosophy of language, seeing it as a change in the language of science, especially in scientific vocabularies or dictionaries. In this process of transformation, metaphors, analogies, and models play the role of midwives in the birth of new concepts. Based on the analysis of Kuhn's relevant insights, this paper identifies the nature and use of metaphor, analogy and model (...) as well as the similarities and differences among them, arguing that analogy and model are special cases of metaphor and can be fully encompassed within the category of metaphor. Finally, the ontological, epistemological, methodological, linguistic, and linguistic philosophical perspectives are explored as to why metaphor is indispensable in scientific cognition and scientific revolution. (shrink)

Much of the recent philosophy literature on the topic of alternative conceptual schemes responds to Donald Davidson. Davidson makes an argument by applying his system to the question, “Could others have an alternative system of concepts, an alternative conceptual scheme?” But he also remarks on the metaphor of organizing. A number of others have joined in. Why? This material may seem unimportant, but I present some reasons for why, and respond to other remarks, by P.M.S Hacker and Hans-Johann (...) Glock. (shrink)

This article surveys theories of metaphor in analytic philosophy and cognitive science. In particular, it focuses on contemporary semantic, pragmatic and non-cognitivist theories of linguistic metaphor and on the Conceptual Metaphor Theory advanced by George Lakoff and his school. Special attention is given to the mechanisms that are shared by nearly all these approaches, i.e. mechanisms of interaction and mapping between conceptual domains. Finally, the article discusses several recent attempts to combine these theories of linguistic and conceptual (...) metaphor into a unitary account. (shrink)

Does Kant hold that we can have intuitions independently of concepts? A striking passage from § 13 of the Critique of Pure Reason appears to say so explicitly. However, it also conjures up a scenario where the categories are inapplicable to objects of intuition, a scenario presumably shown impossible by the following Transcendental Deduction. The seemingly non-conceptualist claim concerning intuition have therefore been read, by conceptualist interpreters of Kant, as similarly counterpossible. I argue that the passage in question best supports (...) an underappreciated middle position where intuition requires a pre-conceptual use of the understanding. Such pre-conceptual use of the understanding faces both textual and systematic objections. I show that these objections can be rebutted. (shrink)

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

Analogical reasoning is often employed in problem-solving and metaphor interpretation. This paper submits that, as a default, analogical reasoning addressing these different tasks employs different mapping strategies: In problem-solving, it employs analogy-maximising strategies (like structure mapping, Gentner & Markman 1997); in metaphor interpretation, analogy-minimising strategies (like ATT-Meta, Barnden 2015). The two strategies interact in analogical reasoning with conceptual metaphors. This interaction leads to predictable fallacies. The paper supports these hypotheses through case-studies on ‘mind’-metaphors from ordinary discourse, and (...) abstract problem-solving in the philosophy of mind, respectively: It shows that (1) default metaphorical interpretations for vision- and space-cognition metaphors can be derived with a variant of the analogy-minimising ATT-Meta approach, (2) philosophically influential introspective conceptions of the mind can be derived with conceptual metaphors only through an analogy-maximising strategy, and (3) the interaction of these strategies leads to hitherto unrecognised fallacies in analogical reasoning with metaphors. This yields a debunking explanation of introspective conceptions. (shrink)

Hilbert arithmetic in a wide sense, including Hilbert arithmetic in a narrow sense consisting by two dual and anti-isometric Peano arithmetics, on the one hand, and the qubit Hilbert space (originating for the standard separable complex Hilbert space of quantum mechanics), on the other hand, allows for an arithmetic version of Gentzen’s cut elimination and quantum measurement to be described uniformy as two processes occurring accordingly in those two branches. A philosophical reflection also justifying that unity by quantum neo-Pythagoreanism links (...) it to the opposition of propositional logic, to which Gentzen’s cut rule refers immediately, on the one hand, and the linguistic and mathematical theory of metaphor therefore sharing the same structure borrowed from Hilbert arithmetic in a wide sense. An example by hermeneutical circle modeled as a dual pair of a syllogism (accomplishable also by a Turing machine) and a relevant metaphor (being a formal and logical mistake and thus fundamentally inaccessible to any Turing machine) visualizes human understanding corresponding also to Gentzen’s cut elimination and the Gödel dichotomy about the relation of arithmetic to set theory: either incompleteness or contradiction. The metaphor as the complementing “half” of any understanding of hermeneutical circle is what allows for that Gödel-like incompleteness to be overcome in human thought. (shrink)

In the time of Coronavirus, it is perhaps as good a time as any to comment on the use and abuse of metaphors. One of the worst instances of metaphor abuse-especially given the recent epidemiological crisis-is Lynne Tirrell's notion of toxic speech. In the foregoing reply piece, I analyze Tirrell's metaphor and reveal how it blinds us to the liberating power of public speech. Lynne Tirrell argues that some speech is, borrowing from field of Epidemiology, toxic in the sense (...) that it harms vulnerable listeners. In this response piece, I summarize the main points of Tirrell's toxic speech argument, map the underlying conceptual metaphor and pose three objections. (shrink)

Although formal thought disorder (FTD) has been for long a clinical label in the assessment of some psychiatric disorders, in particular of schizophrenia, it remains a source of controversy, mostly because it is hard to say what exactly the “formal” in FTD refers to. We see anomalous processing of terminological knowledge, a core construct of human knowledge in general, behind FTD symptoms and we approach this anomaly from a strictly formal perspective. More specifically, we present here a (...) symbolic computational model of storage in, and activation of, a human semantic network, or semantic memory, whose core element is logical form; this is normalized by description logic (DL), namely by CL, a DL-based language – Conception Language – designed to formalize conceptualization from the viewpoint of individual cognitive agency. In this model, disruptions in the rule-based implementation of the logical form account for the apparently semantic anomalies symptomatic of FTD, which are detected by means of a CL-based algorithmic assessment. (shrink)

This thesis is a sceptical investigation into the notion that the metaphorical wave-particle binary of Virginia Woolf's To the Lighthouse is related to quantum physics. Indeed, the field of literature and science has employed conceptual similarities as the main means of connecting quantum concepts to novels, however, this has led to a host of scholarly difficulties, prompting the need for a re-examination of analogical linkages. Woolf is the model candidate for such a re-examination, given her historical and philosophical proximity (...) with the developments of quantum mechanics. To the Lighthouse, in particular, was written between 1925 and 1927: precisely when quantum physicists were attempting to resolve the wave-particle duality, leading to Niels Bohr's complementarity. This parallel has been noted by researchers as relevant to the novel, as it too displays a general binary that can be read as wave-particle-like, which the author also attempts to resolve along similar philosophical lines. Nevertheless, other than proximity and similarity, there are no reasons to affirm that the science is related to the novel; hence, it is an ideal case study to examine in order to ascertain the value of conceptual similarities in literature and science. To do so, To the Lighthouse's binary and its resolution are interpreted in a thesis-long close reading, in order to compare aspects of it firstly to Woolf's personal thought, and secondly to various non-quantum intellectual contexts that preceded and surrounded her. In doing so, it becomes clear not only that invoking quantum physics serves no clear purpose in better understanding the novel, but also that the notion of resolving wave- particle-like binaries was a widespread philosophical procedure at the turn of the century, decades before Bohr's concept. This negative conclusion interrogates what the scholarly value of interpreting similarities is, though a hypothetical solution can be found in conceptual metaphor theory. (shrink)

This book offers a new definition of metaphor-as an ontological and visual construction, whose roots are external visual forms, and its motivation is our attachment to forms. This definition, which Michalle Gal names “visualist,” challenges the ruling conceptualist theory of metaphors and places a new emphasis on how we experience rather than understand metaphors. In doing so, she responds to the visual turn that is taking place in literature and the media, demanding that the visual become a site (...) of philosophical analysis. This focus on the external visual world allows Gal to employ visual theories to capture the essence of metaphor. She looks beyond conceptual or semantic mechanism, and returns to theories of Arnheim and Gombrich and the current evolution of ideas about the visual or material and embodied cognition. Proposing to see visual metaphors in their basic form, she uses a new externalist terminology of ontology, visuality, composition, affordance, construction, and emergence. Setting out a new theory that takes into account that humans are visual no less than cognitive creatures, Visual Metaphors and Aesthetics lays the foundation for a new vocabulary to talk about metaphors. (shrink)

The purpose of this paper is to contextualize the study of metaphors within constructivist-informed research, in the hope that this process will orient cognitive scientists to the usefulness of implementing qualitative research methodologies, especially to using the person of the researcher as the primary research instrument. First, I explore some of the differences between Johnson and Lakoff’s Contemporary Metaphor Theory (CMT) and approaches evolving from it on one hand, and the clinical approach to metaphor based on a constructivist therapy (...) model, on the other. CMT has been one of the most significant forces that helped shift cognitive science toward an embodied approach to cognition. While it has succeeded to place physical experience back where it belongs in reason and meaning, CMT has, however, also fallen into some positivist traps which lead to problems such as a dualism, a split between the knower and the known, and with that, to a distrust of introspective, first-person accounts. In the process of finding conceptual metaphors — generalizations that govern metaphorical expressions — CMT often deletes the idiosyncratic characteristics and presuppositions implicit in linguistic metaphors; it divorces them from people’s sensory experiences, the “here and now” and the intent of their communications. The constructivist approach to metaphor that I present here accepts as a priori assumptions much of what workers of CMT are out to prove. In particular, it takes the correlation of conceptual metaphors and physical experience, as well as the unity of language and thought as pragmatic givens. Emulating the constructivist therapist’s approach to metaphors, I show how it is possible to deconstruct conceptual metaphors into minute sensory distinctions, using one’s own person as the main tool, for the purpose of helping people change their experiences in desired ways, at will. I illustrate this process by numerous examples from a wide field of applications, including mathematics education and psychotherapy. (shrink)

The central hypothesis of the collaboration between Language and Computing (L&C) and the Institute for Formal Ontology and Medical Information Science (IFOMIS) is that the methodology and conceptual rigor of a philosophically inspired formal ontology will greatly benefit software application ontologies. To this end LinKBase®, L&C’s ontology, which is designed to integrate and reason across various external databases simultaneously, has been submitted to the conceptual demands of IFOMIS’s Basic Formal Ontology (BFO). With this, we aim (...) to move beyond the level of controlled vocabularies to yield an ontology with the ability to support reasoning applications. (shrink)

This article presents a formal ontology which accounts for the general nature of artefacts. The objective is to help structure application ontologies in areas where specific artefacts are present - in other words, virtually any area of activity. The conceptualization relies on recent philosophical and psychological research on artefacts, having resulted in a largely consensual theoretical basis. Furthermore, this ontology of artefacts extends the foundational DOLCE ontology and supplements its axiomatization. The conceptual primitives are as follows: artificial entity, (...) intentional production of entities, (state of) capacity, capacity to play a role in actions of a given type, function and functional object. These primitives enable artefacts in general to be characterized as intentionally and successfully produced entities, and isolate an important subclass of “technical” artefacts to which a function is ascribed. Lastly, we emphasize the novelty of this ontology by comparing it with other works with similar objectives. (shrink)

Philosophers and scientists have historically conceptualized race according to two main metaphors; internal differentiation (theological, philosophical and genetic), and external differentiation (environmental). This paper examines these metaphors and theories in Descartes, Kant, Hegel, and also Darwin and the subsequent racial theories of recent history. The paper argues that the externalist metaphor has a more liberal and potentially egalitarian tradition.

How does one formalize the structure of structures necessary for the foundations of physics? This work is an attempt at conceptualizing the metaphysics of pregeometric structures, upon which new and existing notions of quantum geometry may find a foundation. We discuss the philosophy of pregeometric structures due to Wheeler, Leibniz as well as modern manifestations in topos theory. We draw attention to evidence suggesting that the framework of formal language, in particular, homotopy type theory, provides the conceptual building (...) blocks for a theory of pregeometry. This work is largely a synthesis of ideas that serve as a precursor for conceptualizing the notion of space in physical theories. In particular, the approach we espouse is based on a constructivist philosophy, wherein ``structureless structures'' are syntactic types realizing formal proofs and programs. Spaces and algebras relevant to physical theories are modeled as type-theoretic routines constructed from compositional rules of a formal language. This offers the remarkable possibility of taxonomizing distinct notions of geometry using a common theoretical framework. In particular, this perspective addresses the crucial issue of how spatiality may be realized in models that link formal computation to physics, such as the Wolfram model. (shrink)

This paper introduces an innovative analogy between two conceptual trios: 'form, matter, substance' from Aristotelian hylomorphism, and the original 'metaphor, consciousness, emergence' trio, which, while inspired by contemporary philosophy of language, is a novel contribution not previously articulated in the literature. This exploration delves into the intricate interplay of these concepts, seeking to illuminate their profound interconnectedness and its implications for our understanding of reality. By redefining key terms and incorporating the overarching concept of 'thing', this study aims to (...) unravel the complex interplay within these trios and its consequences, thereby challenging conventional interpretations and inviting a reevaluation of fundamental philosophical principles. The analogy seeks not only to provide new perspectives for understanding the intricacies of these concepts but also to expand upon the definitions of the terms themselves. It endeavors to bridge the gap between metaphysical insights and linguistic theories, thereby offering a unique synthesis that contributes to both fields and enhances our conceptual vocabulary. Furthermore, the paper extends the discussion to monistic views of the universe, proposing a synthesis of diverse theories under a single, unifying reality. This approach offers fresh insights, especially in understanding the dynamic nature of consciousness and matter, as well as our perception of reality and creation. Just as Plato's allegory of the cave revealed truths about perception and reality, this paper attempts to uncover deeper metaphysical and linguistic connections. It posits that these connections offer a more comprehensive understanding of the complexities of human cognition and the nature of existence. This analogy represents a metaphorical journey itself, reflecting the continuous quest for deeper understanding in the vast and intricate landscape of philosophical thought. It invites readers to consider the multifaceted nature of reality and its profound impact in shaping our perceptions and understanding of the world. (shrink)

Conceptual analysis, like any exclusively theoretical activity, is far from overrated in current psychology. Such a situation can be related both to the contingent influences of contextual and historical character and to the more essential metatheoretical reasons. After a short discussion of the latter it is argued that even within a strictly empirical psychology there are non-trivial tasks that can be attached to well-defined and methodologically reliable, conceptual work. This kind of method, inspired by the ideas of Ludwig (...) Wittgenstein, Peter Strawson (conceptual grammar), and Gilbert Ryle (conceptual geography), is proposed and formally depicted as being holistic, descriptive, and connective. Finally, the newly presented framework of connective conceptual analysis is defended against the “Charge from Psychology,” in a version developed by William Ramsey, claiming that conceptual analysis is based on psychological assumptions that have already been refuted by empirical psychology. (shrink)

In conceptual modeling (CM) as a subdiscipline of software engineering, current proposed ontologies (categorical analysis of entities) are typically established through whole adoption of philosophical theories (e.g. Bunge’s). In this paper, we pursue an interdisciplinary research approach to develop a diagrammatic-based ontological foundation for CM using philosophical ontology as a secondary source. It is an endeavor to escape an offshore procurement of ontology from philosophy and implant it in CM. In such an effort, the CM diagrammatic language plays an (...) important role in contrast to dogmatic philosophical languages’ obsession with abstract entities. Specifically, this paper is about developing a descriptive (in contrast to formal) ontology that a modeler accepts as a supplementary account of reality when using thinging machines (TMs; i.e. a reality that uncovers the ontology of things that TM modeling discusses or “talks about,” akin to the ontology of natural language). Although existence is a well-established notion, we defend subsistence (Stoic term) as a supplementary mode of reality (e.g. reflection of event). The aim here is aligned toward developing CM notions and processes that are firm enough. Classical analysis of being per se (e.g. identity, substance, classes, objects) is de-emphasized in this work; nevertheless, philosophical concepts form an acknowledged authority to compare to. As a case study, such a methodology is applied to the notion of information that provides a common-sense understanding of the world. This application would enhance understanding of the TM methodology and clarify some of the issues that shed light on the question of the nature of information as an important concept in software engineering. Information is defined as about events; that is, it is about existing things. It is viewed as having a subsisting nature that exists only through being “carried on” by other things. The results seem to indicate a promising approach to define information and understand its nature. (shrink)