Hinge epistemology has to dispel the worry that disagreeing over hinges is rationally inert. Building on a companion piece (Coliva and Palmira 2020), this paper offers a constitutivist solution to the problem of rational inertia by maintaining that a Humean sceptic and a hinge epistemologist disagree over the correct explication of the concept of epistemic rationality. The paper explores the implications of such a solution. First, it clarifies in what sense a disagreement over hinges would be a conceptual disagreement. Secondly, (...) it uses considerations about the (alleged) rational inertia of hinge disagreement to offer a test whereby to demarcate genuine hinges from merely entrenched beliefs. Thirdly, it offers a response to the challenge of explaining why we have reason to engage in the epistemic practices that hinges are constitutive of in the first place. Fourthly, it argues that the constitutivist approach to hinge disagreement does not result in a relativist view. (shrink)

This chapter serves as an opinionated introduction to the problem of convergence (that there is no clear convergence to the truth in philosophy) and the problem of peer disagreement (that disagreement with a peer rationally demands suspending one’s beliefs), and some of the issues they give rise to, namely, philosophical skepticism and progress in philosophy. After introducing both topics and surveying the various positions in the literature we explore the prospects of an alternative, hinge-theoretic account.

Philosophers disagree. A lot. Pervasive disagreement is part of the territory; consensus is hard to find. Some think this should lead us to embrace philosophical skepticism: skepticism about the extent to which we can know, or justifiably believe, the philosophical views we defend and advance. Most philosophers in the literature fall into one camp or the other: philosophical skepticism or philosophical anti-skepticism. Drawing on the insights of hinge epistemology, this paper proposes another way forward, an intermediate position that appeals both (...) to skeptical and anti-skeptical intuitions concerning the possibility and scope of philosophical knowledge. The main advantage of our account is that it’s able to recover some philosophical knowledge while also being compatible with philosophical skepticism. (shrink)

A long historiographical tradition has claimed that the famous Pietro Pomponazzi’s Tractatus de immortalitate animae had been inspired by Tommaso de Vio’s Commentary on De anima – whose basic thesis was that, according to the principles of Aristotelian philosophy, the human soul was mortal – even though Pomponazzi in his entire work never mentioned Caietanus as a model. Firstly, this article frames the status quaestionis focusing on affinities and divergences between the two books and on the possible relationship and exchange (...) between the two authors, especially on the topic of the Aristotelian psychology. Secondly, the present study shows what emerges from a cross-reading of the sources which includes the collection of the Opuscula published in 1519 by the Dominican friar Bartolomeo Spina, who explicitly accused Caietanus of having paved the way for the scandalous and anti-Christian Pomponazzi’s position. The important gain of this collation of texts is the discovery of an unseen moment of debate with Caietanus inside Pomponazzi’s Tractatus. (shrink)

The aim of this work is to focus on the most unusual application of the Lateran bull Apostolici regiminis, the founding document of the inquisitorial legislation which regulated the teaching activity of philosophy professors by forcing them to refute any heterodox theory and to teach the doctrine of faith. In 1519, the inquisitor of Bologna Giovanni de’ Torfanni censored the book Defensorium, in which the secular Aristotelian philosopher Pietro Pomponazzi developed against his colleague Agostino Nifo a long series of arguments (...) in favor of the mortality of the human soul without match them with their respective Christian refutations, as prescribed by the papal bull. Nevertheless, as a result of a not well documented negotiation with the competent authorities, Pomponazzi was relieved of all obligations, provided that he submitted his book to the emendations of the Dominican theologian Crisostomo Javelli. Pomponazzi accepted the agreement and Javelli drew up a list of forty-two solutions to as many mortalistic arguments found in Defensorium. Javelli’s list – titled Solutiones rationum animi mortalitatem probantium quae in Defensorio contra Niphum excellentissimi Petri Pomponatii formantur – was then attached to Defensorium and in this way Pomponazzi gained permission to print and sell his book. After a short reconstruction of the key steps of this affair, the present work provides a critical edition of Javelli’s Solutiones, based upon both the sixteenth-century editions of the text, the first one contained in Defensorium, the other included in Pomponazzi’s Tractatus acutissimi, utillimi, et mere peripatetici. (shrink)

Abstract. The aim of this paper is first to defend the intuition that truth is grounded in how things are and, second, to argue that this fact is consistent with Minimalism. After having cashed out that intuition in terms of explanatory claims of the form ‘if it is true that p, it is true that p because p’, I set out an argument against Minimalism which is based on the same intuition, and I argue that a strategy the minimalist could (...) adopt to resist the argument, i.e. to deny the correctness of the intuition, is flawed. Then I explain why the intuition is correct and I make some claims concerning the kind of explanations which are involved in it. Now the stage is set up to present the right way for the minimalist to resist the argument. I finally answer some objections. (shrink)

The condition of precariousness not only provides insights into a segment of the world of work or of a particular subject group, but is also a privileged standpoint for an overview of the condition of the social on a global scale. Because precariousness is multidimensional and polysemantic, it traverses contemporary society and multiple contexts, from industrial to class, gender, family relations as well as political participation, citizenship and migration. This book maps the differences and similarities in the ways precariousness and (...) insecurity in employment unfold and are subjectively experienced in regions and sectors that are confronted with different labour histories, legislations and economic priorities. Establishing a constructive dialogue amongst different global regions and across disciplines, the chapters explore the shift from precariousness to precariat and collective subjects as it is being articulated in the current global crisis. This edited collection aims to continue a process of mapping experiences by means of ethnographies, fieldwork, interviews, content analysis, where the precarious define their condition and explain how they try to withdraw from, cope with or embrace it. (shrink)

If for Caputo the universality of desire as self-appropriation and the singularity of the gift as desire-beyond-desire depend on and interweave with each other, they nevertheless do so as the communication between discrete and separable moments, that of the `sensible, rational circle of time' and the `exceeding and surpassing of ourselves'. The subject for Caputo seems to function as the temporary self-identity of construct. It is the "desire for restitution, fulfillment, reappropriation, well being". This agent-subject "always intends to (...) act for its own good". He says without this willing well-being "the subject/agent would never do a thing, nothing would happen or eventuate". Caputo's equating of the subject with a moment of re-appropriation ( he says `making an exhibit of ourselves', but can we make an exhibit of ourselves without unintentionally exiting from ourselves?) exemplifies the attempt to retain a remnant of a structuralist center as only the instant of contingency itself. In so doing, Caputo reifies what Derrida puts into question. (shrink)

John D. Caputo’s book is one in a new series from Penguin called “Philosophy in Transit”. The “transit” theme has a number of dimensions: the publisher announces that the authors use “various modes of transportation as their starting point”, and the books will use this idea to represent some aspect of the current state of philosophy itself (a leading metaphor of Caputo’s book is that truth is perpetually “on the go”). Furthermore, the publisher’s description of these books as (...) “commute-length” indicates when and where they expect people to read them. Future volumes – by Barry Dainton on “self”, Susan Neiman on “why grow up?” and the ubiquitous Slavoj Zizek on “event” – are forthcoming. (shrink)

The paper criticizes John Caputo's formulation of "radical hermeneutics" and its understanding of both religion and tragedy, arguing that a "tragic theology" would be a truly radical hermeneutic.

According to Thomas Aquinas, what distinguishes the theological from the cardinal virtues is the nature of their object: the latter aim at the natural excellence of humans, while the former direct us beyond ourselves to focus on the Divine. This paper considers the cinematic work of Drew Goddard — in particular, his 2018 film _Bad Times at the El Royale_ — as a post-religious response to Aquinas, insofar as it retains and re-presents Faith, Hope, and Love as valuable elements of (...) the human experience itself, even in the absence of a supernatural vector of their application. After the fashion of Caputo’s Derrida, I offer a religionless interpretation of each of the three theological virtues and show how _Bad Times_ itself deconstructs the roles of ‘god’ and ‘human,’ interchanging them in a way that manifests a “religionless religion” wherein the theological virtues can remain vibrant, even without the theological structure that might be expected to undergird them. In short: _Bad Times at the El Royale_ demonstrates how even if God is dead, Faith, Hope, and Love are not. (shrink)

This review of one in the series of the monumental primary works of Kierkegaard shows him as the champion and, as it were, an inaugurator of the phenomenological turn in both philosophy and literature. The review touches upon serious issues regarding mass culture and Christianity. The review of the eighth volume in this series was published in January 2020, and these two reviews are the first by any Indian Hindu. While discussing Kierkegaard the reviewer touches upon John Caputo's theology (...) derived from Jürgen Moltmann's concept of a weak God. There are inadvertent typos in this review. (shrink)

Jean-Luc Nancy would appear to have avoided the aura of conceptual determinativeness plaguing John Caputo's reading of Derrida. His rendering of the interweaving of experience is vigilant at depriving us of the ability to capture and possess a temporary presence in the event itself. In 'Elliptical Sense' (Research in Phenomenology,pp.175-190) and `Differance' (Sense of the World, pp.34-36) he thinks Derrida's quasi-transcendental as a being-singular-plural. But is Nancy's differential communication of events understanding itself as Derridean differance? Nancy himself reminds (Ellipsis34) (...) that while there is a great proximity between his work and Derrida, it is not a complicity. What might Nancy not be apprehending of Derrida's thought? (shrink)

Tradition has it that first-person thought is somehow special. It is also commonplace to maintain that the first-person concept obeys a rule of reference to the effect that any token first-person thought is about the thinker of that thought. Following Annalisa Coliva and, more recently, Santiago Echeverri, I take the specialness claim to be the claim that thinking a first-person thought comes with a certain guarantee of its pattern of reference. Echeverri maintains that such a guarantee is explained by (...) a fairly flatfooted interpretation of the thinker-reflexive rule. I argue, however, that the explanatory aspirations of the thinker-reflexive rule are fulfilled only if we accept an epistemically loaded gloss on the notion of a thinker of a thought featuring the rule. That gloss is unpacked in terms of the subject’s ability to be acquainted with the phenomenal character of their thoughts. (shrink)

According to Danièle Moyal-Sharrock, Wittgenstein’s On Certainty presents a theory of hinges, and hinges have a role to play in a foundationalist epistemology (2013). Michael Williams (2005) and Annalisa Coliva (2013 ) have claimed that the hinges are not suitable to play such a role as they are not shared universally. Moyal-Sharrock has replied that a subset of the hinges is suitable to play such a role: the “universal” hinges. I argue that for Moyal-Sharrock’s reply to be sustained, she (...) must construe the set of universal hinges much more narrowly than she does currently. For instance, Moyal-Sharrock claims that “I have a brain” is a universal hinge, which consigns people who know nothing about brains to stand outside the bounds of sense. I also provide a novel way of thinking about the universal hinges, which I argue is better textually motivated than Moyal-Sharrock’s own way, and which provides a set of hinges more suitable to play a role in foundationalist epistemology. (shrink)

In her book Extended Rationality: A Hinge Epistemology (2015), Annalisa Coliva puts forward an anti-sceptical proposal based on the idea that the notion of rationality extends to the unwarrantable presuppositions “that make the acquisition of perceptual warrants possible” (2015: 150). These presuppositions are commonly the target of sceptical arguments, and by showing that they are on the one hand unwarrantable, but on the other are constitutive components of rationality itself, she reveals that they are beyond rational doubt and thus (...) avoids scepticism. Part of Coliva’s defence of using extended rationality in this way involves distancing it from relativist interpretations, which she describes as “devastating” (2015: 120). She proposes two ways that someone might attempt to formulate epistemic relativism from her extended rationality view, and argues that both would be unsuccessful because they require describing alternative conceptions of rationality which are “unintelligible” (in the first case), or “inconceivable” (in the second). The superficial claim of this chapter is that Coliva’s arguments, as they stand, are insufficient to dismiss relativism. She fails to show that the conception of rationality needed for the first formulation of relativism is unintelligible, and overestimates the significance of the second formulation’s conception turning out to be inconceivable. But I also highlight a deeper problem: neither formulation follows a realistic blueprint for relativism, and so these were the wrong possibilities to consider in the first place. To address this issue, I propose a third, more plausible, way in which someone might attempt to formulate relativism on the basis of Coliva’s account. I leave open whether this strategy is successful, or whether a version of Coliva’s criticisms apply to it too. (shrink)

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of (...) his philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. -/- Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. (shrink)

Philosophical literature has focused on the concept of trust, but often considers distrust merely as an afterthought. Distrust however, because of its pervasive role in our everyday lives, can be quite damaging. Thus, understanding the rationality of distrust is crucial for understanding our testimonial practices. In this paper I analyze whether it is rational or irrational to distrust an informant on the basis of identity bias. My aim is to show that distrust is irrational when based on negative identity bias. (...) First, I adopt Annalisa Coliva’s account of social hinge epistemology where it is rationally required to assume certain basic presuppositions, such that people are generally reliable informants, to obtain propositional justification and participate in the testimonial practice. Secondly, I show how distrust based on negative identity bias can spread across other domains of interaction and jeopardize the testimonial practice as we fail to assume that people are generally reliable informants. Thirdly, I argue that considering bias as a defeater is beneficial to maintain the claim that bias-based distrust is irrational, as it prevents the acquisition of propositional justification. Finally, I show that distrust is rational when based on evidence and reason that the speaker is not reliable or sincere. (shrink)

According to MODERATISM, perceptual justification requires that one independently takes for granted propositional hinges like <There is an external world>, <I am not a brain in a vat (BIV)>, and so on. This view faces the truth problem: to offer an account of truth for hinges that is not threatened by skepticism. Annalisa Coliva has tried to solve the truth problem by combining the claim that external world propositions have a substantive truth property like correspondence with the claim that (...) hinges have a deflationary truth property. I argue that the resulting view cannot offer a coherent characterization of ‘skeptical switch scenarios’ while providing an effective anti-skeptical strategy. In a more positive vein, I defend an approach that combines a correspondence conception of truth with epistemological disjunctivism. (shrink)

In this 2nd part of the series on Tantra in this blog, we look at St. Augustine and the Postmoderns like Derrida and John Caputo to gradually frame a hermeneutics of Tantra.

Spanish version of essay on the film ¡Aoquic iez in Mexico! / ¡Ya México no existirá más! (Annalisa D. Quagliata Blanco, 2024).

Overall Johnston has done a phenomenal job and this book should be required reading for all those interested in behavior. -/- It is quite striking that although W’s observations are fundamental to all study of behavior—linguistics, philosophy, psychology, history, anthropology, politics, sociology, and art, he is not even mentioned in most books and articles, with even the exceptions having little to say, and most of that distorted or flat wrong. There is a flurry of recent interest, at least in philosophy, (...) and possibly this preposterous situation will change, especially due to the continuing efforts of Peter Hacker, Daniele Moyal-Sharrock and more recently Annalisa Coliva. I will first offer some comments on philosophy (descriptive psychology) and its relationship to contemporary psychological research as exemplified in the works of Searle (S) and Wittgenstein from the modern two systems of thought perspective as W did 60 years ago. -/- Those wishing a comprehensive up to date framework for human behavior from the modern two systems view may consult my book ‘The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle’ 2nd ed (2019). Those interested in more of my writings may see ‘Talking Monkeys--Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet--Articles and Reviews 2006-2019 3rd ed (2019), The Logical Structure of Human Behavior (2019), and Suicidal Utopian Delusions in the 21st Century 4th ed (2019) . (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

This dissertation seeks to clarify the import of the transcendence problem in Heidegger and Derrida. The guiding suggestion of my interpretations of both thinkers is that following the development of this problem through their respective projects can help to demonstrate in each an underlying continuity in light of which their seemingly discrepant shifts in emphasis from early to late can be understood as moments of an ongoing hermeneutic task. ;My argument unfolds in four chapters and a brief conclusion. Chapter one (...) motivates the project in view of the contentious standing of the problem in continental philosophy as it is characterized in the competing narratives advanced by Richard Rorty, John Caputo, and Rodolphe Gasche. ;Chapters two and three trace the problem through Heidegger's Denkweg. While Being and Time might seem to be the obvious place to start, I argue that the character of the problem is difficult to see without recourse to both the context in which the problem first arises, and the future interpretations of the problem toward which Being and Time proceeds. Accordingly, I attend to the emergence of the problem in Heidegger's dissertation and early lectures, and then leap ahead to its more explicit appropriations in the writings of 1928 where the provisional standing of fundamental ontology becomes increasingly apparent. In view of its past and future trajectories, then, I return to Being and Time to exhibit therein what I take to be latent indications of Heidegger's later disposition toward transcendence. ;Chapter four situates Derrida in terms of his debts to and departures from Heidegger. I argue that Derrida's debts in fact compel his departures; since he concurs that the transcendence of predecessor discourses necessitates their destruction in the name of advancing their undeveloped possibilities, he must dismantle Heidegger to do justice to him. In applying this insight to Derrida's project, I maintain, the careful reader can find traces of his later injunctions to "absolute responsibility" in his early affirmations of "infinite play". ;I conclude with a few brief remarks as to how this investigation might contribute to a richer understanding of contemporary continental philosophy. (shrink)

Trata-se de mostrar em que sentido a metaforicidade é inerente à desconstrução de Jacques Derrida e logra articular conceito e metáfora no discurso filosófico, sem reduzir um ao outro, viabilizando uma discursividade sobre a alteridade, como altemativa à dialética hegeliana e sua semiologia de Aufhebung. assim como à própria desconstrução heideggeriana. Mostra-se ainda, à luz da desmitologização empreendida por John Caputo, que a desconstrução derridiana na verdade radicaliza e efetiva a hermenêutica heideggeriana da facticidade.

This is a critical notice of Christos Kyriacou and Kevin Wallbridge (eds.), Skeptical Invariantism Reconsidered. New York and London: Routledge, 2021. Pp. x + 324. ISBN 978-0-367-37018-3. It discusses in some detail contributions by Nevin Climenhaga, Christos Kyriacou, Michael Hannon, Kevin Wallbridge, Annalisa Coliva, and Genia Schönbaumsfeld.

Sense and Affect exposes the limits of important recent strands in continental philosophy. It questions the necessity of a certain language of violence, otherness, disruption and pathos saturating Jacques Derrida's texts and the texts of those having a proximity to Derrida's deconstructionist project. This book establishes a connection between such affective terminology and a common, if heterogeneously expressed, theoretical inadequacy binding Derrida and writers such as Lyotard, Foucault, Caputo and Nancy. Their failure to penetrate a presumed irreducibility of suffering (...) in the world is shown to be linked to their dependence on the assumption of an irreducible tension at the origin of meaning. This book develops a fresh method of thought thoroughly unraveling the presuppositions of deconstructive orientations and uncovering a finer silt of the world than is seen via such discourses. (shrink)

One may locate in Geoffrey Bennington's reading of Derrida a formalization of deconstructive terms reminiscent of Caputo's thematizing of the moment of the sign. In Bennington's hands, Derrida's differance seems to be thought as a conceptual form programmatically configuring subjective, or `actual', events. Bennington reads Derrida's possible-impossible hinge, the `perhaps', as pertaining to definitive events which either conform to convention or break away from those norms. Bennington's quasi-transcendental, in thinking itself via the pure structurality of internal relation, unknowingly succumbs (...) to a deconstructive destabilization before it can even think the first instance of its own `contingently realized' form. An internally unitary principle or form, even if thought only in the instant of its contingent application to an empirical event, cannot justify its momentary identicality, and so the supposed determinativeness of the event as the `as such' of its internal structure is revealed as a phantasm repressing a more intimate effect. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)