Radical cities have historically been hotbeds of transformative paradigms, political changes, activism, and social movements, and have given rise to visionary ideas, utopian projects, revolutionary ideologies, and debates. These cities have served as incubators for innovative ideas, idealistic projects, revolutionary philosophies, and lively debates. The streets, squares, and public spaces of radical cities have been the backdrop for protests, uprisings, and social movements that have had both local and global significance. This research project aims to explore and reimagine radical cities (...) and urban activism using a variety of visual and collaborative pedagogical approaches. This project will study and categorize these cities through comparative case studies from different regions, including North America, and Latin America, and beyond, in order to better understand and interpret pivotal societal transitions. (shrink)

Cities have consistently served as fertile grounds for the emergence and growth of radical ideas, political transformations, and social movements, with urban landscapes nurturing visionary concepts, idealism, and revolutionary ideologies. This research delves into the captivating world of radical cities, exploring the power of image and visual narratives to communicate and comprehend urban activism within diverse contexts. By analyzing various case studies and student works, we aim to create, study, and reimagine vivid portrayals of urban activism, radical urbanism, and future (...) socio-spatial developments. The focus lies on developing innovative visual modalities and collaborative critical pedagogical approaches that engage with the complexities of radical cities across North America, Latin America, Asia, Europe, and beyond. In this study, we explore the potential of image and visual narratives to decode and understand pivotal societal transitions in radical cities. By employing imaginative and critical pedagogy, we aspire to foster a more profound comprehension of urban activism and its impact on shaping the cities of the future. (shrink)

In this paper, I seek to address the underrepresentation of Iranian women architects in historical narratives, exploring the perishable traces of their work and contributions to the field of architecture. Inspired by Carla Lonzi's call for women to consider their narrative incomplete and the International Archive of Women in Architecture (IAWA), I delve into the unique challenges Iranian women architects face and their impact on architectural history. I examine the historiographical review of Iranian women architects, their work, and their (...) contributions to the field, highlighting the importance of preserving and disseminating this often-overlooked knowledge. By investigating the current editorial challenges, I explore how archived material should be disseminated and the agency of such material in shaping a more inclusive and accurate historical narrative. Furthermore, I discuss the role of resources, archives, and new technologies in preserving and accessing the work of Iranian women architects. Considering data feminism and information visualization, I consider the implications of algorithms and digital technologies on accessing archived information and the potential for a more inclusive historical narrative. Through the lens of Iranian women architects, this paper contributes to the broader discussion on the representation and history of women in architecture by unearthing and preserving the perishable traces of their work. (shrink)

The main purpose of this dissertation is to examine critically and discuss the role of imagination in science and religion, with particular emphasis on its possible epistemic, creative, and meaning-making functions. In order to answer my research questions, I apply theories and concepts from contemporary philosophy of mind on scientific and religious practices. This framework allows me to explore the mental state of imagination, not as an isolated phenomenon but, rather, as one of many mental states that co-exist and interplay (...) in our cogntive architecture. Based on the philosophical discourse of philosophy of mind, four types of imagination are indentified and conceptualized: sensory, propositional, experiential, and creative imagination. These categories are then employed on five phenomena that can be found in scientific and religious environments: metaphors, models, thought experiments, aspect perception, and - in the religious case - rituals. In relation to the concept of religious "seeing" I consider how imaginings may influence visionary experiences and visualization, and compare these phenomena with cases of scientific visualization and eureka experiences. In regard to scientific and religious models, a distinction is made between, on the one hand, two notions of truth and, on the other hand, truth-independent meaning-making. In light of these categories, I differentiate between, and critically discuss, the use of imagination in doxastic, non-doxastic and fictionalist accounts. In light of this investigation, I formulate and defend the position of interactivism, which acknowledges a constant interplay between different attitudes and mental states. In my examination of rituals and scientific and religious thought experiments, special attention is given to the mental capacity to recreate the experiences that are entailed in an imagined scenario. At the end of the investigation, I consider the possible impact that my study might have on how we view science and religion as well as the dialogue bewteen these two fields. (shrink)

The article proposes systematisation and development of the discourse of the East European methodological traditions regarding application of the systematic approach as a way of subject localisation in psychological research. In particular, the author’s version of systematic localisation of psychological research subjects by means of structural and ontological visualisations has been developed. The procedure proposed for systematic localisation of the researched subject includes four subsequent stages: 1) fixation of the borders and structure of the ontological field which is being studied; (...) 2) segment analysis of the obtained structure; 3) study of specifics and contents of structural and functional ties; 4) visual mapping of genesis of the core processes. The article describes specifics of application of systematic localisation of the subject of research at the example of such researched object as personal socialisation. (shrink)

Traditionally, vision science and information/data visualization have interacted by using knowledge of human vision to help design effective displays. It is argued here, however, that this interaction can also go in the opposite direction: the investigation of successful visualizations can lead to the discovery of interesting new issues and phenomena in visual perception. Various studies are reviewed showing how this has been done for two areas of visualization, namely, graphical representations and interaction, which lend themselves to work on (...) visual processing and the control of visual operations, respectively. The results of these studies have provided new insights into aspects of vision such as grouping, attentional selection and the sequencing of visual operations. More generally yet, such results support the view that the perception of visualizations can be a useful domain for exploring the nature of visual cognition, inspiring new kinds of questions as well as casting new light on the limits to which information can be conveyed visually. (shrink)

Visual imagination (or visualization) is peculiar in being both free, in that what we imagine is up to us, and useful to a wide variety of practical reasoning tasks. How can we rely upon our visualizations in practical reasoning if what we imagine is subject to our whims? The key to answering this puzzle, I argue, is to provide an account of what constrains the sequence in which the representations featured in visualization unfold—an account that is consistent with (...) its freedom. Three different proposals are outlined, building on theories that link visualization to sensorimotor predictive mechanisms (e.g., efference copies, forward models ). Each sees visualization as a kind of reasoning, where its freedom consists in our ability to choose the topic of the reasoning. Of the three options, I argue that the approach many will find most attractive—that visualization is a kind of off-line perception, and is therefore in some sense misrepresentational—should be rejected. The two remaining proposals both conceive of visualization as a form of sensorimotor reasoning that is constitutive of one’s commitments concerning the way certain kinds of visuomotor scenarios unfold. According to the first, these commitments impinge on one’s web of belief from without, in the manner of normal perceptual experience; according to the second, these commitments just are one’s (occurrent) beliefs about such generalizations. I conclude that, despite being initially counterintuitive, the view of visualization as a kind of occurrent belief is the most promising. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Amongst philosophers and cognitive scientists, modularity remains a popular choice for an architecture of the human mind, primarily because of the supposed explanatory value of this approach. Modular architectures can vary both with respect to the strength of the notion of modularity and the scope of the modularity of mind. We propose a dilemma for modular architectures, no matter how these architectures vary along these two dimensions. First, if a modular architecture commits to the informational encapsulation of modules, as it (...) is the case for modularity theories of perception, then modules are on this account impenetrable. However, we argue that there are genuine cases of the cognitive penetrability of perception and that these cases challenge any strong, encapsulated modular architecture of perception. Second, many recent massive modularity theories weaken the strength of the notion of module, while broadening the scope of modularity. These theories do not require any robust informational encapsulation, and thus avoid the incompatibility with cognitive penetrability. However, the weakened commitment to informational encapsulation greatly weakens the explanatory force of the theory and, ultimately, is conceptually at odds with the core of modularity. (shrink)

The main focus of this article is the question of the aesthetics of an unaesthetic ruined space.The author also pays particular attention to the ambivalence that exists in contemporary derelict architecture, referred to as ‘modern ruins’, and tries to show that such locations can be viewed as an ‘in‑between’ space.

A discussion of the role of metaphor and reinterpretation in extending architectural vocabularies.

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.

This paper argues that while Heidegger showed the importance of architecture in altering people's modes of being to avoid global ecological destruction, the work of Christopher Alexander offered a far more practical orientation to deal with this problem.

In this paper we identify and characterize an analysis of two problematic aspects affecting the representational level of cognitive architectures (CAs), namely: the limited size and the homogeneous typology of the encoded and processed knowledge. We argue that such aspects may constitute not only a technological problem that, in our opinion, should be addressed in order to build arti cial agents able to exhibit intelligent behaviours in general scenarios, but also an epistemological one, since they limit the plausibility of the (...) comparison of the CAs' knowledge representation and processing mechanisms with those executed by humans in their everyday activities. In the fi nal part of the paper further directions of research will be explored, trying to address current limitations and future challenges. (shrink)

Bioinformatics scientists often describe their own scientific activities as the practice of working with large amounts of data using computing devices. An essential part of their self-identification is also the development of ways to visually represent the results of this work. Some of these methods are aimed at building convenient representations of data and demonstrating patterns present in them (graphics, diagrams, graphs). Others are ways of visualizing objects that are not directly accessible to human perception (microphotography, X-ray). Both the construction (...) of visualizations and (especially) the creation of new computer visualization methods are considered in bioinformatics as significant scientific achievements. Representations of the three-dimensional structure of protein molecules play a special role in the inquiries of bioinformatics scientists. 3D-visualization of a macromolecule, on the one hand, is, like a graph, a representation of the results of computer processing of data arrays obtained by material methods – spatiotemporal coordinates of structural elements of the molecule. On the other hand, like microphotography, these 3D structures should serve as accurate representations of specific scientific objects. This leads to the parallel existence of two contradictory epistemic regimes: creative arbitrariness in making convenient, communicatively successful models, is combined with commitment to the object “as it really is”. The paradox is reinforced by the fact that the scientific study of objects in question (determining the properties of the structure, its functions, comparison with other structures) by means of computers does not require visualization at all. Its obviously high value for bioinformatics does not look justified if we take into account the prominent artificiality and artistry of the resulting images. However, the status of these images becomes clearer if we relate them to earlier notions of the role of the visual in scientific discovery. The highest estimation of visualization as the final result of scientific research was characteristic of Renaissance science. The artistic representation of ideal essential properties, instead of a strict correspondence to a particular biological object, is an epistemic virtue typical of the naturalists of the 17th and 18th centuries. Both suggested a close collaboration between the scientist and the artist; and standards for visualizing macromolecules in bioinformatics grow out of a similar collaboration (Geis’ drawings). The desire for maximum accuracy and detail inherits the regulation of “mechanical objectivity” (as Daston and Galison put it into words), for which it is also important to eliminate humans from the image production process (in bioinformatics, to transfer these functions to computer programs). Thus, 3D-visualization of protein structures bears traces of historically different value orientations, but the scientific practice of the 20th and 21st centuries, supplemented by computer technologies, allows them to be intertwined in particular disciplinary units. (shrink)

Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply (...) to architecture the lesson learned from the analysis of the art debate. (shrink)

Architecture and human-built structures are embedded with speciesist practices of domination over the environment, where humans are considered special and superior to other species. This (hu)man exceptionalism has driven architecture and the built environment to be conceived in opposition to ‘nature’, dominating natural terrains and consequently displacing or instrumentalizing the many other species that are given little to no ethical consideration. This way of intervening in the world is leading to the existential questions that must be posed given our global (...) climate crisis. A reframing of human intervention as ‘built environment’ placed in opposition to the ‘natural environment’ of supposedly passive nature, is urgently needed. The motivation for this paper is rooted in a deep concern for the role of humans in the climate crisis and a realization that architecture as a discipline is complicit in elevating the human category above all other beings in nature. There are biases embedded in the practices and teaching of architecture that need to be interrogated and reflected upon, starting with the role models and ideals that we unwittingly operate within. To contextualize the idea of human exceptionalism in architecture, we will explore deep-seeded ideals in architecture linked to the concept of Rectitude as a form of ‘rightness’ -or correct- mode of intervening in the world, conceptualized by Western men as a human-centric practice distinct from nature-made. Supported by Ecofeminist thought, the aim is to open alternative models for world-building and housing humans on earth living in its sixth extinction. (shrink)

In this position paper, we describe a number of methodological and philosophical challenges that arose within our interdisciplinary Digital Humanities project CatVis, which is a collaboration between applied geometric algorithms and visualization researchers, data scientists working at OCLC, and philosophers who have a strong interest in the methodological foundations of visualization research. The challenges we describe concern aspects of one single epistemic need: that of methodologically securing (an increase in) trust in visualizations. We discuss the lack of ground (...) truths in the (digital) humanities and argue that trust in visualizations requires that we evaluate visualizations on the basis of ground truths that humanities scholars themselves create. We further argue that trust in visualizations requires that a visualization provides provable guarantees on the faithfulness of the visual representation and that we must clearly communicate to the users which part of the visualization can be trusted and how much. Finally, we discuss transparency and accessibility in visualization research and provide measures for securing transparency and accessibility. (shrink)

This article connects value-sensitive design to Gibson’s affordance theory: the view that we perceive in terms of the ease or difficulty with which we can negotiate space. Gibson’s ideas offer a nonsubjectivist way of grasping culturally relative values, out of which we develop a concept of political affordances, here understood as openings or closures for social action, often implicit. Political affordances are equally about environments and capacities to act in them. Capacities and hence the severity of affordances vary with age, (...) health, social status and more. This suggests settings are selectively permeable, or what postphenomenologists call multistable. Multistable settings are such that a single physical location shows up differently – as welcoming or hostile – depending on how individuals can act on it. In egregious cases, authoritarian governments redesign politically imbued spaces to psychologically cordon both them and the ideologies they represent. Selective permeability is also orchestrated according to business interests, which is symptomatic of commercial imperatives increasingly dictating what counts as moral and political goods. (shrink)

This article explores how readers recognize their personal identities represented through data visualizations. The recognition is investigated starting from three definitions captured by the philosopher Paul Ricoeur: the identification with the visualization, the recognition of someone in the visualization, and the mutual recognition that happens between readers. Whereas these notions were initially applied to study the role of the book reader, two further concepts complete the shift to data visualization: the digital identity stays for the present-day passport (...) of human actions and the promise is the intimate reflection that projects readers towards their own future. This article reflects on the delicate meaning of digital identity and the way of representing it according to this structure: From Personal Identity to Media is a historical introduction to self-recognition, Data Visualization for Representing Identities moves the focus to visual representation, and The Course of Recognition breaks the self-recognition in through the five concepts above just before the Conclusion. (shrink)

Expanding his collected essays on architectural theory and criticism, Chris Abel pursues his explorations across disciplinary and regional boundaries in search of a deeper understanding of architecture in the evolution of human culture and identity formation. From his earliest writings predicting the computer-based revolution in customised architectural production, through his novel studies on 'tacit knowing' in design or hybridisation in regional and colonial architecture, to his radical theory of the 'extended self', Abel has been a consistently fresh and (...) provocative thinker, contesting both conventions and intellectual fashions. This revised third edition includes a new introduction and six additional chapters by the author covering a broad range of related topics, up to recent concerns with genetic design methods and virtual selves. Together with the former essays, the book presents a unique global perspective on the changing cultural issues and technologies shaping human identities and the built environment in diverse parts of the world, both East and West (from the book cover). (shrink)

Philosophy & Architecture special number of philosophy@LISBON (International eJournal) 5 | 2016 edited by Tomás N. Castro with Maribel Mendes Sobreira Centro de Filosofia da Universidade de Lisboa ISSN 2182-4371.

This paper explores the extent to which a scientific framework for visualization might be possible. It presents several potential parts of a framework, illustrated by application to the visualization of correlation in scatterplots. The first is an extended-vision thesis, which posits that a viewer and visualization system can be usefully considered as a single system that perceives structure in a dataset, much like "basic" vision perceives structure in the world. This characterization is then used to suggest approaches (...) to evaluation that take advantage of techniques used in vision science. Next, an optimal-reduction thesis is presented, which posits that an optimal visualization enables the given task to be reduced to the most suitable operations in the extended system. A systematic comparison of alternative designs is then proposed, guided by what is known about perceptual mechanisms. It is shown that these elements can be extended in various ways—some even overlapping with parts of vision science. As such, a science of some kind appears possible for at least some parts of visualization. It would remain distinct from design practice, but could nevertheless assist with the design of visualizations that better engage human perception and cognition. (shrink)

People cannot contemplate a proposition without believing that proposition. A model of belief fixation is sketched and used to explain hitherto disparate, recalcitrant, and somewhat mysterious psychological phenomena and philosophical paradoxes. Toward this end I also contend that our intuitive understanding of the workings of introspection is mistaken. In particular, I argue that propositional attitudes are beyond the grasp of our introspective capacities. We learn about our beliefs from observing our behavior, not from introspecting our stock beliefs. -/- The model (...) of belief fixation offered in the dissertation poses a novel dilemma for theories of rationality. One might have thought that the ability to contemplate ideas while withholding assent is a necessary condition on rationality. In short, it seems that rational creatures shouldn‘t just form their beliefs based on whatever they happen to think. However, it seems that we are creatures that automatically and reflexively form our beliefs based on whatever propositions we happen to consider. Thus, either the rational requirement that states that we must have evidence for our beliefs must be jettisoned or we must accept the conclusion that we are necessarily irrational. (shrink)

During the last decades, many cognitive architectures (CAs) have been realized adopting different assumptions about the organization and the representation of their knowledge level. Some of them (e.g. SOAR [35]) adopt a classical symbolic approach, some (e.g. LEABRA[ 48]) are based on a purely connectionist model, while others (e.g. CLARION [59]) adopt a hybrid approach combining connectionist and symbolic representational levels. Additionally, some attempts (e.g. biSOAR) trying to extend the representational capacities of CAs by integrating diagrammatical representations and reasoning are (...) also available [34]. In this paper we propose a reflection on the role that Conceptual Spaces, a framework developed by Peter G¨ardenfors [24] more than fifteen years ago, can play in the current development of the Knowledge Level in Cognitive Systems and Architectures. In particular, we claim that Conceptual Spaces offer a lingua franca that allows to unify and generalize many aspects of the symbolic, sub-symbolic and diagrammatic approaches (by overcoming some of their typical problems) and to integrate them on a common ground. In doing so we extend and detail some of the arguments explored by G¨ardenfors [23] for defending the need of a conceptual, intermediate, representation level between the symbolic and the sub-symbolic one. In particular we focus on the advantages offered by Conceptual Spaces (w.r.t. symbolic and sub-symbolic approaches) in dealing with the problem of compositionality of representations based on typicality traits. Additionally, we argue that Conceptual Spaces could offer a unifying framework for interpreting many kinds of diagrammatic and analogical representations. As a consequence, their adoption could also favor the integration of diagrammatical representation and reasoning in CAs. (shrink)

The idea that there is a “Number Sense” (Dehaene, 1997) or “Core Knowledge” of number ensconced in a modular processing system (Carey, 2009) has gained popularity as the study of numerical cognition has matured. However, these claims are generally made with little, if any, detailed examination of which modular properties are instantiated in numerical processing. In this article, I aim to rectify this situation by detailing the modular properties on display in numerical cognitive processing. In the process, I review literature (...) from across the cognitive sciences and describe how the evidence reported in these works supports the hypothesis that numerical cognitive processing is modular. I outline the properties that would suffice for deeming a certain processing system a modular processing system. Subsequently, I use behavioral, neuropsychological, philosophical, and anthropological evidence to show that the number module is domain specific, informationally encapsulated, neurally localizable, subject to specific pathological breakdowns, mandatory, fast, and inaccessible at the person level; in other words, I use the evidence to demonstrate that some of our numerical capacity is housed in modular casing. (shrink)

Computational systems biologists create and manipulate computational models of biological systems, but they do not always have straightforward epistemic access to the content and behavioural profile of such models because of their length, coding idiosyncrasies, and formal complexity. This creates difficulties both for modellers in their research groups and for their bioscience collaborators who rely on these models. In this paper we introduce a new kind of visualization that was developed to address just this sort of epistemic opacity. The (...) visualization is unusual in that it depicts the dynamics and structure of a computer model instead of that model’s target system, and because it is generated algorithmically. Using considerations from epistemology and aesthetics, we explore how this new kind of visualization increases scientific understanding of the content and function of computer models in systems biology to reduce epistemic opacity. (shrink)

Progress in philosophy is difficult to achieve because our methods are evidentially and rhetorically weak. In the last two decades, experimental philosophers have begun to employ the methods of the social sciences to address philosophical questions. However, the adequacy of these methods has been called into question by repeated failures of replication. Experimental philosophers need to incorporate more robust methods to achieve a multi-modal perspective. In this chapter, we describe and showcase cutting-edge methods for data-mining and visualization. Big data (...) is a useful investigatory tool for moral psychology, and it fits well with the Ramsification method the first author advances in a series of recent papers. The guiding insight of these papers is that we can infer the meaning and structure of concepts from patterns of assertions and inferential associations in natural language. (shrink)

With the rapidly growing amounts of information, visualization is becoming increasingly important, as it allows users to easily explore and understand large amounts of information. However the field of information visualiza- tion currently lacks sufficient theoretical foundations. This article addresses foundational questions connecting information visualization with computing and philosophy studies. The idea of multiscale information granula- tion is described based on two fundamental concepts: information (structure) and computation (process). A new information processing paradigm of Granular Computing enables stepwise (...) increase of granulation/aggregation of information on different levels of resolution, which makes possible dynamical viewing of data. Information produced by Google Earth is an illustration of visualization based on clustering (granulation) of information on a succession of layers. Depending on level, specific emergent properties become visible as a result of different ways of aggregation of data/information. As information visualization ultimately aims at amplifying cognition, we discuss the process of simulation and emulation in relation to cognition, and in particular visual cognition. (shrink)

This paper seeks to refute the claim that architectural value is one and the same value as the artistic value of architecture. As few scholars explicitly endorse this claim, instead tacitly holding it, I term it the implicit claim. Three potential motivations for the implicit claim are offered before it is shown that, contrary to supporting the claim, they set the foundations for considering architectural value and the artistic value of architecture to be distinct. After refuting the potential (...) motivations and offering some counterexamples to the claim, I provide some comments upon the interaction(s) between aesthetic, artistic, and architectural values, which are benefitted and supported by Louise Hanson’s discussion of attributive value in the artistic domain. (shrink)

The fundamental differences between the suburbs and the city centre that I would like to point out concern the pace of life and the intensity of urban development. Certainly, these differences are not absolute but are rather relative, as they are defined in relation to the surrounding neighbourhood that serves as a reference for self‑determination. A suburb has some small‑town traits, but its close location to the city prevents it from becoming a local centre. The same concerns the architecture whose (...) intensity is, after all, a consequence of the increasing intensity in other aspects of life, the differentiationof sources of people’s income, the demand for services, trade contacts, etc. Its incompleteness, imperfection, slower pace and focus on anunattained and unattainable ideal can make one see in the suburb as a theoretically extremely promising area. Indeed, its promise lies in this aspect of failure, incompleteness and fragmentation — which is long lasting and relatively permanent. Many traits of suburban architecture are conservative; whereas others, such as its impermanence and improvisational qualities, are experimental and are characterised by an almost guerrilla‑like aspect. However, present‑day advanced postmodern thinking at times achieves an ability to take contradictory spatial, visual, artistic and functional characteristics and, through a theoretical analysis, make them into a complex ‘difficult whole’. Here, the combination itself is probably not so much harmonious but rather contains certain internal tensions, imbalances and longings of one opposite towards another. Anyway, this combination does take place and — in line with the direction of many diagnoses of contemporaneity — instead of creating abstract constructs, we must register the facts and try to conceptualise them. (shrink)

The paper examines the evolution of modernity concepts starting from the Renaissance to the present day, emphasizing the impact on architecture and urbanism. During the period of the Renaissance and the Enlightenment, people framed an evolutionary notion of history and the concept of the modern associated with the contemporary, the new, and the fleeting emerged. This period connected modernity with the idea of relativity of truth as opposed to the absolute truth of the Middle Ages. In the 18th and 19th (...) centuries, modernity clashed with tradition. This led to economic and political modernization. It also influenced artistic movements and cultural trends. The Industrial Revolution epitomized this period. It was driven by scientific and technological advancements. The paper discusses the objective and subjective perspectives of modernity, highlighting its dual nature in socioeconomic processes and personal experiences. Key thinkers like Habermas Weber and Baudelaire provide frameworks for understanding modernity's developments in science, art, and morality. The avant-garde movements influenced by Bauhaus, emphasized functionality. They also focused on rationality in architecture. However, critiques emerged, advocating the concept of unitary urbanism. This vision includes adaptable living spaces. It promotes an ever-changing urban environment, as exemplified by Constant's New Babylon. The Adorno's aesthetic theory criticized the industry's commodification of art and emphasizes art's utopian potential. Adorno's concept of mimesis and his critique of rationality and instrumental reason are explored reflecting the paradoxical nature of modernity. Finally, the paper contrasts the views of architects like Mies van der Rohe, Norberg-Schulz, and Eisenman. It concludes by reflecting on architecture's ongoing interaction with modernity. It emphasizes a balance between innovation tradition and the dynamic nature of human experience and social development. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

To take an empirical approach toward belief, I suggest thinking of belief as a putative kind within the domain of cognitive science. Adopting realist, naturalist, and non-reductionist account of kinds according to which kinds are clusters of causal properties, I argue that a plausible place to begin an inquiry on belief is the architecture of human reasoning. I offer the Sound Board Account of Human Reasoning (S-BAR) (in contrast to Dual Process Theory), according to which there is one reasoning system, (...) which can operate consciously or unconsciously, automatically or controlled, concretely or abstractly, and inductively or deductively. I then argue that, on this architecture, belief will have two properties: inferential promiscuity and settling state. In the final section, I argue that wishful thinkings are beliefs, acceptance and belief are distinct, and argue for a disambiguation of implicit measures. (shrink)

A discussion of "postmodern" architecture in the sense in which the term was used in the late 1980s, namely, the introduction of historical substantive content and reference into architecture, disrupting the supposedly ahistorical purity of modernist architecture. Argues that postmodern use of history is really another version of the modern distance from history.

The evaluation of universities from different perspectives is important for their scientific development. Analyzing the scientific papers of a university under the bibliometric approach is one main evaluative approach. The aim of this study was to conduct a bibliometric analysis and visualization of papers published by Hamadan University of Medical Science (HUMS), Iran, during 1992-2018. This study used bibliometric and visualization techniques. Scopus database was used for data collection. 3753 papers were retrieved by applying Affiliation Search in Scopus (...) advanced search section. Excel and VOSviewer software packages were used for data analysis and bibliometric indicator extraction. An increasing trend was seen in the numbers of HUMS's published papers and received citations. The highest rate of collaboration in national level was with Tehran University of Medical Sciences. Internationally, HUMS's researchers had the highest collaboration with the authors from the United States, the United Kingdom and Switzerland, respectively. All highly-cited papers were published in high level Q1 journals. Term clustering demonstrated four main clusters: epidemiological studies, laboratory studies, pharmacological studies, and microbiological studies. The results of this study can be beneficial to the policy-makers of this university. In addition, researchers and bibliometricians can use this study as a pattern for studying and visualizing the bibliometric indicators of other universities and research institutions. (shrink)

Modern buildings do not easily harmonize with other buildings, regardless of whether the latter are also modern. This often-observed fact has not received a satisfactory explanation. To improve on existing explanations, this article first generalizes one of Ortega y Gasset’s observations concerning modern fine art, and then develops a metaphysics of styles that is inspired by work in the philosophy of biology. The resulting explanation is that modern architecture is incapable of developing patterns that facilitate harmonizing, because such patterns would (...) humanize buildings and modern architecture is a homeostatic property cluster with a dehumanizing motive at its core. (shrink)

Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization in Art and Education, Springer-Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.

This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...) paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration. (shrink)

How the interpretation of architecture differs from that of other artworks.

Common space and public open spaces are studied and investigated from various aspects in western contexts. What is the most considered in this study is the relationship between public open space and democratic functions in eastern context and especially in Middle Eastern countries. The notion of public is connected to the notion of people in the framework of the nation-state political organization. What was happened in Cairo in 2011, just as in Kiev in 2014, and Turkey 2013 was the prolonged (...) and mass occupation of public space by citizens. Indeed, physical space for the expression of democratic rights and claims is important in modern democracy. Tehran is studied as the example of a contemporary metropolis that embodies spatial-political tensions within its urban form. Tehran’s urban form remains deeply rooted in the historical ideologies of space in shaping a contemporary space of sovereignty. By reading the city through transformation of public spaces, the relationship between its architecture and political power will be exposed as an example in which the architecture of the city is charged with enabling an ideological interaction through action and reaction, revolution and resistance. This study focuses on Tehran during two major intervals 1921-1950(politics towards modernity)/1951-1979(Architecture for revolution) and the roots and results of these critical periods and their integration to political theology in contemporary middle-east metropolis. (shrink)

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

This essay explores a conception of responsibility at work in moral and criminal responsibility. Our conception draws on work in the compatibilist tradition that focuses on the choices of agents who are reasons-responsive and work in criminal jurisprudence that understands responsibility in terms of the choices of agents who have capacities for practical reason and whose situation affords them the fair opportunity to avoid wrongdoing. Our conception brings together the dimensions of normative competence and situational control, and we factor normative (...) competence into cognitive and volitional capacities, which we treat as equally important to normative competence and responsibility. Normative competence and situational control can and should be understood as expressing a common concern that blame and punishment presuppose that the agent had a fair opportunity to avoid wrongdoing. This fair opportunity is the umbrella concept in our understanding of responsibility, one that explains it distinctive architecture. (shrink)

Assessing the success or failure of a work of architecture typically requires determining its function. However, architectural criticism often founders on apparently intractable disputes concerning the 'true' function of particular works. In this essay, I propose that the proper function of an architectural work is a matter of empirical fact, and can be determined by examining the history of the relevant architectural type. I develop this claim by appeal to the so-called 'etiological theory of function'.

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)

Theories of intelligence can be of use to neuroscientists if they: 1. Provide illuminating suggestions about the functional architecture of neural systems; 2. Suggest specific models of processing that neural circuits might implement. The objective of our session was to stand back and consider the prospects for this interdisciplinary exchange.

This dissertation summarises a research path aimed at fostering the use of Cognitive Architectures in Serious Games research field. Cognitive Architectures are an embodiment of scientific hypotheses and theories aimed at capturing the mechanisms of cognition that are considered consistent over time and independent of specific tasks or domains. The theoretical approaches provided by the research in computational cognitive modelling have been used to formalise a methodological framework to guide researchers and experts in the game-based education sector in designing, implementing, (...) and evaluating Serious Games. The investigation of cognitive processes involved during the game experience represents the fundamental step of the pro- posed approach. Two different case studies are described to discuss the possible use of the suggested framework. In the first case study, the aim was to design a modified version of the Tetris game with the intention of making the game more effective in training the visual-spatial skill called mental rotation. In the second scenario, the frame- work was used as a basis for creating an innovative persuasive game. This case study provides an example of adopting cognitive architectures for implementing a non-player character with human-like behaviour developed using targeted cognitive theories. (shrink)

The European Association for Cognitive Systems is the association resulting from the EUCog network, which has been active since 2006. It has ca. 1000 members and is currently chaired by Vincent C. Müller. We ran our annual conference on December 08-09 2016, kindly hosted by the Technical University of Vienna with Markus Vincze as local chair. The invited speakers were David Vernon and Paul F.M.J. Verschure. Out of the 49 submissions for the meeting, we accepted 18 a papers and 25 (...) as posters (after double-blind reviewing). Papers are published here as “full papers” or “short papers” while posters are published here as “short papers” or “abstracts”. Some of the papers presented at the conference will be published in a separate special volume on ‘Cognitive Robot Architectures’ with the journal Cognitive Systems Research. - RC, VCM, YS, MV. (shrink)

The past four decades of research in the social sciences have shed light on two important phenomena. One is that human decision-making is full of predicable errors and biases that often lead individuals to make choices that defeat their own ends (i.e., the bad choice phenomenon), and the other is that individuals’ decisions and behaviors are powerfully shaped by their environment (i.e., the influence phenomenon). Some have argued that it is ethically defensible that the influence phenomenon be utilized to address (...) the bad choice phenomenon. They propose that “choice architects” learn about the various ways in which choices can be influenced and directed by the environment, and then work to design environments, broadly construed, that influence individuals towards choices that make them better off. Those who advocate intentionally creating choice environments that lead people to better choices believe that doing so is ethically permissible because (1) it makes people better off, and (2) it does so in a way that is entirely compatible with individual liberty. The evaluation of these two claims is the main focus of this paper. (shrink)

This paper aims to propose and justify a framework for understanding the concept of personhood in both biological and artificial entities. The framework is based on a set of requirements that make up a suitable cognitive architecture for an entity to be considered a person, including the ability to have propositionally structured intentional states, having a form of sensory capabilities, and having a means of interacting with the environment. The case of individuals in a persistent vegetative state, as studied by (...) Owen, serves as an example to show the importance of each of these requirements and the possibility of a "hybridization" of personhood. The proposed set of requirements provide a complete framework for understanding the concept of personhood and highlight the significance of cognitive architecture in determining personhood. (shrink)