The thesis aims to address the issue of 'philosophical topology' in Martin Heidegger's work and to identify its possible impact on contemporary architectural theory. Topology construes space and spatiality as a basic category for the constitution of meaning, in contrast to the traditionally prevalent category of Reason. This thesis argues that what is called 'reason' in Heidegger is not an a priori function of cognition, but is derived by the fundamental characteristic of human existence, which is its ability to (...) create. But the act of creation in Heidegger, as will be demonstrated, is always a creation of what he calls “place" (or in German: “Ort”), thereby making topology equivalent to ontology. The most basic space-creating practice is architecture, which beget sense and creates meanings, and in doing so is directly related to the 'question of being'. It is therefore crucial to elaborate on the relationship between Heideggerian topology and architectural theory. (shrink)

Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym tak- że odgraniczania (...) architektury od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę,ile literacką relację o zbrodni przełamującej historię ludzkość. (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)

Until fairly recently in the storied history of epistemology, it was believed, widely and almost uncontestedly, that the architecture of human knowledge was such that our beliefs rested on an ultimate, self-justifying bedrock of truth. But with the rise of the modern age via the Enlightenment, there arose in tandem certain thinkers, most notably René Descarte, who began to object that this foundation is simultaneously far smaller and far stronger than it was originally thought to be. Thus, according to (...) this new view, the foundation for human knowledge doesn’t turn out to support very much, but what it does support, it supports all but invincibly. Descartes’ system provoked a number of detractors who, instead of returning to the old view, began to question not only whether any such foundation existed at all, but whether one was even necessary. Their project, instead, was to dispense with the idea of a justifying foundation altogether, formulating in its place a system in which the only thing needed to justify a belief were other beliefs. As we will see, this move has proven calamitous to their pursuit of truth and clarity. In this essay, I intend to chart a course between Descartes and his detractors, addressing a few shortcomings of each, while aiming for something like that old foundational understanding of human knowledge. (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)

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)

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)

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)

The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.

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.

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.

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)

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)

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)

In the history of technologies and materials the transfer from soft to hard plays a central role. From a dialectic point of view it seems to be a clear-cut matter of one overpowering the other, yet conceptually things are more convoluted. What we call the chiastic model of history is driven by the exchange of empowerings where the one inhabits the other. By taking the most antithetical examples of materiality from architectural history, the plastic and the lithic, we begin to (...) understand the psychological aspects of this exchange: a history of dreams, imagination and even hallucination. The technologies involving the plastic offer an enormous array of such imagery, which we start to analyze as part of a fundamental aspect of technology itself. Using the notion of the pharmakon, as developed by Derrida and Stiegler, we study its ambiguities: technology by its nature is both remedy and poison, cure and addiction. Accepting this ambivalence is the explicit goal of pharmacology, which makes the history of soft and hard one of prosthetic extension as much as of mimetic absorption. We will be guided by two architectural fantasists to investigate the what we call the pharmacology of architecture, J. G. Ballard’s fantasy of a house automaton in the case of the plastic, and G. B. Piranesi’s hallucinations of a reversed archeology in that of the lithic. (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'.

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 first of the particular arts . . . is architecture." (A 13.116/1.83)1 For Hegel, architecture stands at several beginnings. It is the art closest to raw nature. It is the beginning art in a progressive spiritualization that will culminate in poetry and music. The drive for art is spirit's drive to become fully itself by encountering itself; art makes spirit's essential reality present as an outer sensible work of its own powers.2 (A 13.453/1.351) If Hegel's narrative of (...) the arts creates a hierarchy, architecture stands lowest, yet it nonetheless plays a unique and necessary role in spirit's development. In this essay I first describe Hegel's views on the nature of architecture and its three stages (symbolic, classical, romantic). Then I indicate some problems with Hegel's narrative. Finally I raise the question whether Hegel's theories might be adapted to our present architectural situation. (shrink)

In this paper a possible general framework for the representation of concepts in cognitive artificial systems and cognitive architectures is proposed. The framework is inspired by the so called proxytype theory of concepts and combines it with the heterogeneity approach to concept representations, according to which concepts do not constitute a unitary phenomenon. The contribution of the paper is twofold: on one hand, it aims at providing a novel theoretical hypothesis for the debate about concepts in cognitive sciences by (...) providing unexplored connections between different theories; on the other hand it is aimed at sketching a computational characterization of the problem of concept representation in cognitively inspired artificial systems and in cognitive architectures. (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)

The Proviso Problem is the discrepancy between the predictions of nearly every major theory of semantic presupposition about what is semantically presupposed by conditionals, disjunctions, and conjunctions, versus observations about what speakers of certain sentences are felt to be presupposing. I argue that the Proviso Problem is a more serious problem than has been widely recognized. After briefly describing the problem and two standard responses to it, I give a number of examples which, I argue, show that those responses (...) are inadequate. I conclude by briefly exploring alternate approaches to presupposition that avoid this problem. -/- . (shrink)

Metaphor plays a central role in changing the architectural process. In order to better appreciate the nature of architectural creativity, generating more positive forms and volumes is required. Exists many conclusions which demonstrate that metaphors plays an important role shaping the design creativity. The aim of this paper is about understanding the exact role of the metaphor in architecture design from the concept of Aristotle to nowadays. Essentially it is the process by which most of the ideas come into (...) being. Metaphors structure our understanding and perceptions. They make our thoughts more interesting and more vivid. There are similar distinct uses of metaphor in architectural criticism, which is often heavily reliant on metaphor both as a form of expression and a tool of analysis. There is a dimension of meanings attached to the various uses of metaphor, ranging from the ornamental view at one hand to the rational view at the other [1].Metaphors role in the ecological design is essential and necessary. Architects use a variety of methods and techniques to enrich the architectural language. This process is accomplished with the infiltration of metaphors as a literary figure. By adopting the models of nature, there is a chance to work more sustainably and produce more sustainable products. Is this the paradigm shift we have been looking for? Maybe biomimicry and nature could be super metaphors in order to develop sustainable design. This paper should take in consideration also the metaphor as a tool implemented into design reflecting either positive or negative reactions. This theory should be explained by concrete examples. The working metaphor in the design process is another important issue to be judged. The aim of this paper is to demonstrate that architectural metaphors corporate in coherent ways with architectonic language shaping its functionality. Metaphor helps to perceive things from a different perspective that is new to us, changing and bringing new ideas. Architectural metaphors can be found everywhere also in the Albanian case. It is very evident how metaphor stretches architectural functionality. (shrink)

This paper is about Brentano’s philosophical program in Vienna and the overall architecture, which binds together the main parts of his philosophy. I argue that this program is based on Brentano’s project of philosophy as science and it aims to account for the unity of the main branches of his philosophy. The paper is divided into six parts. The first bears on Brentano’s philosophy of history, which is an important piece of the program. The second is on the close (...) relationship between philosophy and science, and the third is on Brentano’s classification of theoretical sciences. In the three remaining parts of the paper, I examine the two main axes of the program, i.e. psychology and metaphysics, and the question how the three normative sciences are rooted in psychology. In the conclusion, I argue that Brentano’s theory of the four phases in the history of philosophy provides his philosophical program with a justification. (shrink)

In his wide-ranging study of architecture and cultural evolution, Chris Abel argues that, despite progress in sustainable development and design, resistance to changing personal and social identities shaped by a technology-based and energy-hungry culture is impeding efforts to avert drastic climate change. The book traces the roots of that culture to the coevolution of Homo sapiens and technology, from the first use of tools as artificial extensions of the human body to the motorized cities spreading around the world, whose (...) uncontrolled effects are fast changing the planet itself. Advancing a new concept of the meme, called the 'technical meme', as the primary agent of cognitive extension and technical embodiment, Abel proposes a theory of the 'extended self' as a complex and diffuse outcome of that coevolution. Challenging conventional ideas of the self as a separate and autonomous being, the extended self, he explains, encompasses material and spatial as well as psychological and social elements, including the built environment and artifacts, and now reaches out into the virtual world of cyberspace. Drawing upon research into extended cognition and embodied minds from philosophy, psychology and the neurosciences, the book presents a new approach to environmental and cultural studies. N.B. This book was the winner of the International Committee of Architectural Critics 2017 Bruno Zevi Book Award by unanimous decision of the international jury. (shrink)

Relationship between default semantics and modularity of mind (in particular mind reading through the principle of Relevance).

The first in a series of five books about Digital Reality (DR) theory. The author now owns the copyright and is posting this work because it is out of print.

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy of art in Turkey (...) started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (shrink)

We propose a percolation based M2M networking architecture and its data transmission method. The proposed network architecture can be server free and router free, which allows us to operate routing efficiently with percolations based on six degrees of separation theory in small world network modeling. The data transmission can be divided into two phases routing and data transmission phase. In the routing phase, probe packets will be transmitted and forwarded in the network thus path selections are performed (...) based on small world strategy. In the second phase, the information will be encoded, say, with the fountain codes, and transmitted using the paths selected at the first phase. In such a way, an efficient routing and data transmission mechanism can be built, allowing us to construct a low cost, flexible and ubiquitous network. Such a networking architecture and data transmission can be used in many M2M communications, such as the stub network of internet of things, and deep space networking, and so on. Soujanya Ambala | Dr. Srinivas Ambala | Sreedhar Ambala "M2M Networking Architecture for Data Transmission and Routing" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-1 , December 2016. (shrink)

In computational cognitive science, a valuationist picture of human agent architecture has become widespread. At the heart of valuationism is a simple and sweeping claim: Every time an agent acts, they do so on the basis of value representations, which are, roughly, representations of the expected value of one’s response options. In this essay, I do three things. First, I give a systematic, philosophically rich account of the valuationist picture of agency. I also highlight the generality of the model (...) in explaining diverse forms of person-level agency. Second, I discuss connections between the valuationist model and two traditional models in philosophy, the belief/desire model and the decision-theoretic model. Valuationism is related to both, but critical differences remain. Third, I canvas the wide-ranging implications of valuationism for philosophical inquiry. Among other things, valuationism illuminates the elusive boundary between activity and passivity; it flips the standard philosophical understanding of decision around, with decision being a source of, rather than a product of, one’s agency; it reconceptualizes motivation as, in part, a representational phenomenon; it challenges a philosophical dogma that control over action is more extensive than control over belief; and it offers an intriguing “accuracy-based” approach to the normative criticism of agency. (shrink)

We present a cognitive-physicalist account of phenomenal consciousness. We argue that phenomenal concepts do not differ from other types of concepts. When explaining the peculiarities of conscious experience, the right place to look at is sensory/ perceptual representations and their interaction with general conceptual structures. We utilize Jerry Fodor’s psycho- semantic theory to formulate our view. We compare and contrast our view with that of Murat Aydede and Güven Güzeldere, who, using Dretskean psychosemantic theory, arrived at a solution (...) different from ours in some ways. We have suggested that the representational atomism of certain sensory experiences plays a central role in reconstructing the epistemic gap associated with conscious experience, still, atomism is not the whole story. It needs to be supple- mented by some additional principles. We also add an account of introspection, and suggest some cognitive features that might distinguish representational atoms with phenomenal character from those without it. (shrink)

I admire Audi's intentions in discussing the rationality of beliefs, desires, and actions together, and doubt that this can be done internalistically, as he tries.

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of (...) the automobile on our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. (shrink)

Software application ontologies have the potential to become the keystone in state-of-the-art information management techniques. It is expected that these ontologies will support the sort of reasoning power required to navigate large and complex terminologies correctly and efficiently. Yet, there is one problem in particular that continues to stand in our way. As these terminological structures increase in size and complexity, and the drive to integrate them inevitably swells, it is clear that the level of consistency required for such navigation (...) will become correspondingly difficult to maintain. While descriptive semantic representations are certainly a necessary component to any adequate ontology-based system, so long as ontology engineers rely solely on semantic information, without a sound ontological theory informing their modeling decisions, this goal will surely remain out of reach. In this paper we describe how Language and Computing nv (L&C), along with The Institute for Formal Ontology and Medical Information Sciences (IFOMIS), are working towards developing and implementing just such a theory, combining the open software architecture of L&C’s LinkSuiteTM with the philosophical rigor of IFOMIS’s Basic Formal Ontology. In this way we aim to move beyond the more or less simple controlled vocabularies that have dominated the industry to date. (shrink)

The irrational exuberance associated with contemporary artificial intelligence (AI) reminds me of Charles Dickens: "it was the age of foolishness, it was the epoch of belief" (cf. Nature Editorial, 2016; to get a feel for the vanity fair that is AI, see Mitchell and Krakauer, 2023; Stilgoe, 2023). It is particularly distressing—feels like yet another rerun of Seinfeld, which is all about nothing (pun intended); we have seen it in the 60s and again in the 90s. AI might have had (...) an inauspicious beginning, which may very well be the original sin, and our current predicament is the attendant divine condemnation. Being unable to stand it, however divine it may be, without further ado, I get to the genesis (instead of getting lost in the here-and-now of this or that so-called breakthrough of AI). Here's my unvarnished critique! (shrink)

It is generally assumed that existing artificial systems are not phenomenally conscious, and that the construction of phenomenally conscious artificial systems would require significant technological progress if it is possible at all. We challenge this assumption by arguing that if Global Workspace Theory (GWT) — a leading scientific theory of phenomenal consciousness — is correct, then instances of one widely implemented AI architecture, the artificial language agent, might easily be made phenomenally conscious if they are not already. (...) Along the way, we articulate an explicit methodology for thinking about how to apply scientific theories of consciousness to artificial systems and employ this methodology to arrive at a set of necessary and sufficient conditions for phenomenal consciousness according to GWT. (shrink)

The concept of the cortical column refers to vertical cell bands with similar response properties, which were initially observed by Vernon Mountcastle’s mapping of single cell recordings in the cat somatic cortex. It has subsequently guided over 50 years of neuroscientific research, in which fundamental questions about the modularity of the cortex and basic principles of sensory information processing were empirically investigated. Nevertheless, the status of the column remains controversial today, as skeptical commentators proclaim that the vertical cell bands are (...) a functionally insignificant by-product of ontogenetic development. This paper inquires how the column came to be viewed as an elementary unit of the cortex from Mountcastle’s discovery in 1955 until David Hubel and Torsten Wiesel’s reception of the Nobel Prize in 1981. I first argue that Mountcastle’s vertical electrode recordings served as criteria for applying the column concept to electrophysiological data. In contrast to previous authors, I claim that this move from electrophysiological data to the phenomenon of columnar responses was concept-laden, but not theory-laden. In the second part of the paper, I argue that Mountcastle’s criteria provided Hubel Wiesel with a conceptual outlook, i.e. it allowed them to anticipate columnar patterns in the cat and macaque visual cortex. I argue that in the late 1970s, this outlook only briefly took a form that one could call a ‘theory’ of the cerebral cortex, before new experimental techniques started to diversify column research. I end by showing how this account of early column research fits into a larger project that follows the conceptual development of the column into the present. (shrink)

Moods have global and profound effects on our thoughts, motivations and behavior. To understand human behavior and cognition fully, we must understand moods. In this paper I critically examine and reject the methodology of conventional ?cognitive theories? of affect. I lay the foundations of a new theory of moods that identifies them with processes of our cognitive functional architecture. Moods differ fundamentally from some of our other affective states and hence require distinct explanatory tools. The computational theory (...) of mood I propose places them within the context of other mental phenomena and is consistent with the empirical data on moods. (shrink)

D’un point de vue sociologique, l’architecture du droit global se caractérise par une prééminence des normes de « connectivité », qu’il convient de distinguer des normes de « possibilité » et des normes de « cohérence ». La centralité des normes de connectivité dans cette structure provient de la fonction même du droit global, qui vise à faciliter le transfert de composants sociaux condensés –_tels que le capital, les produits économiques, les doctrines religieuses ou les connaissances scientifiques_–, d’un environnement (...) juridique à un autre à l’échelle planétaire. Cela se vérifie aussi bien dans le cas du colonialisme et du droit colonial que dans celui, aujourd’hui, des chaînes de valeur globales et des droits de l’homme. Le droit colonial et le droit des droits humains peuvent tous deux être compris comme des moyens de remplir une même fonction constituante de stabilisation et de facilitation de la connectivité. Cette compréhension trouve un écho significatif dans le droit international privé, qui participe de la même fonction. (shrink)

The paper introduces an extension of the proposal according to which conceptual representations in cognitive agents should be intended as heterogeneous proxytypes. The main contribution of this paper is in that it details how to reconcile, under a heterogeneous representational perspective, different theories of typicality about conceptual representation and reasoning. In particular, it provides a novel theoretical hypothesis - as well as a novel categorization algorithm called DELTA - showing how to integrate the representational and reasoning assumptions of the (...) class='Hi'>theory-theory of concepts with the those ascribed to the prototype and exemplars-based theories. (shrink)

Attempts to introduce Gestalt theory into the realm of visual neuroscience are discussed on both theoretical and experimental grounds. To define the framework in which these proposals can be defended, this paper outlines the characteristics of a standard model, which qualifies as a received view in the visual neurosciences, and of the research into natural images statistics. The objections to the standard model and the main questions of the natural images research are presented. On these grounds, this paper defends (...) the view that Gestalt psychology and experimental phenomenology provide a contribution to the research into perception by the construction of phenomenological models for an ecologically meaningful interpretation of the empirical evidence and the hypothetical constructs of the natural image research within the visual neuroscience. A formal framework for the phenomenological models is proposed, wherein Gestalt theoretical principles and empirical evidence are represented in terms of topological properties and relationships, which account for the order and structures that make the environment accessible to observers at a relevant behavioural level. It is finally argued that these models allow us to evaluate the principles and the empirical evidence of various natures which are integrated from different fields into the research into perception, and in particular into visual neurosciences. (shrink)

Centred on 'Foams', the third volume of his Spheres trilogy, this article questions the privilege granted by Peter Sloterdijk to motifs of inclusion and exclusion, contending that whilst his prioritization of dwelling as a central aspect of human existence provides a promising counterpoint to the dislocative and isolative effects of post-industrial capitalism, it is compromised by its dependence upon an anti-cosmopolitan outlook that views cultural distantiation as a natural and preferable state of human affairs, and valorizes a purported ontological security (...) attained through defensive postures with respect to perceived foreigners or externalities. Sloterdijk’s conceptualization of culture as a kind of immune system, it is argued, although posited as a rebuke to models of essentialism and ethno-nationalism, provides ontological support to the xenophobic critiques of immigration that are today finding increasing currency. (shrink)

Though researchers working on congenital aphantasia (henceforth “aphantasia”) agree that this condition involves an impairment in the ability to voluntarily generate visual imagery, disagreement looms large as to which other impairments are exhibited by aphantasic subjects. This article offers the first extensive review of studies on aphantasia, and proposes that aphantasic subjects exhibit a cluster of impairments. It puts forward a novel cognitive theory of aphantasia, building on the constructive episodic simulation hypothesis of memory and imagination. It argues that (...) aphantasia is best explained as a malfunction of processes in the episodic system, and is therefore an episodic system condition. (shrink)

Three puzzles about self-deception make this mental phenomenon an intriguing explanatory target. The first relates to how to define it without paradox; the second is about how to make sense of self-deception in light of the interpretive view of the mental that has become widespread in philosophy; and the third concerns why it exists at all. In this paper I address the first and third puzzles. First, I define self-deception. Second, I criticize Robert Trivers' attempt to use adaptionist evolutionary psychology (...) to solve the third puzzle (existence). Third, I sketch a theory to replace that of Trivers. Self-deception is not an adaptation, but a spandrel in the sense that Gould and Lewontin give the term: a byproduct of other features of human (cognitive) architecture. Self-deception is so undeniable a fact of human life that if anyone tried to deny its existence, the proper response would be to accuse this person of it. (Allen Wood, 1988). (shrink)

This book reports on the results of the third edition of the premier conference in the field of philosophy of artificial intelligence, PT-AI 2017, held on November 4 - 5, 2017 at the University of Leeds, UK. It covers: advanced knowledge on key AI concepts, including complexity, computation, creativity, embodiment, representation and superintelligence; cutting-edge ethical issues, such as the AI impact on human dignity and society, responsibilities and rights of machines, as well as AI threats to humanity and AI safety; (...) and cutting-edge developments in techniques to achieve AI, including machine learning, neural networks, dynamical systems. The book also discusses important applications of AI, including big data analytics, expert systems, cognitive architectures, and robotics. It offers a timely, yet very comprehensive snapshot of what is going on in the field of AI, especially at the interfaces between philosophy, cognitive science, ethics and computing. (shrink)

The problem of "lost space," or the inadequate use of space, afflicts most urban centers today. The automobile, the effects of the Modern Movement in architectural design, urban-renewal and zoning policies, the dominance of private over public interests, as well as changes in land use in the inner city have resulted in the loss of values and meanings that were traditionally associated with urban open space. This text offers a comprehensive and systematic examination of the crisis of the contemporary city (...) and the means by which this crisis can be addressed. Finding Lost Space traces leading urban spatial design theories that have emerged over the past eighty years: the principles of Sitte and Howard; the impact of and reactions to the Functionalist movement; and designs developed by Team 10, Robert Venturi, the Krier brothers, and Fumihiko Maki, to name a few. In addition to discussions of historic precedents, contemporary approaches to urban spatial design are explored. Detailed case studies of Boston, Massachusetts; Washington, D.C.; Goteborg, Sweden; and the Byker area of Newcastle, England demonstrate the need for an integrated design approach--one that considers figure-ground, linkage, and place theories of urban spatial design. These theories and their individual strengths and weaknesses are defined and applied in the case studies, demonstrating how well they operate in different contexts. This text will prove invaluable for students and professionals in the fields of architecture, landscape architecture, and city planning. Finding Lost Space is going to be a primary text for the urban designers of the next generation. It is the first book in the field to absorb the lessons of the postmodern reaction, including the work of the Krier brothers and many others, and to integrate these into a coherent theory and set of design guidelines. Without polemics, Roger Trancik addresses the biggest issue in architecture and urbanism today: how can we regain in our shattered cities a public realm that is made of firmly shaped, coherently linked, humanly meaningful urban spaces? Robert Campbell, AIA Architect and architecture critic Boston Globe. (shrink)

The term gestalt, when used in the context of general systems theory, assumes the value of “systemic touchstone”, namely a figure of reference useful to categorize the properties or qualities of a set of systems. Typical gestalts used, e.g., in biology, are those based on anatomical or physiological characteristics, which correspond respectively to architectural and organizational design choices in natural and artificial systems. In this paper we discuss three gestalts of general systems theory: behavior, organization, and substance, which (...) refer respectively to the works of Wiener, Boulding, and Leibniz. Our major focus here is the system introduced by the latter. Through a discussion of some of the elements of the Leibnitian System, and by means of several novel interpretations of those elements in terms of today’s computer science, we highlight the debt that contemporary research still has with this Giant among the giant scholars of the past. (shrink)

The ultimate goal of research into computational intelligence is the construction of a fully embodied and fully autonomous artificial agent. This ultimate artificial agent must not only be able to act, but it must be able to act morally. In order to realize this goal, a number of challenges must be met, and a number of questions must be answered, the upshot being that, in doing so, the form of agency to which we must aim in developing artificial agents comes (...) into focus. This chapter explores these issues, and from its results details a novel approach to meeting the given conditions in a simple architecture of information processing. (shrink)

A popular view has it that the mental representations underlying human pretense are not beliefs, but are “belief-like” in important ways. This view typically posits a distinctive cognitive attitude (a “DCA”) called “imagination” that is taken toward the propositions entertained during pretense, along with correspondingly distinct elements of cognitive architecture. This paper argues that the characteristics of pretense motivating such views of imagination can be explained without positing a DCA, or other cognitive architectural features beyond those regulating normal belief (...) and desire. On the present “Single Attitude” account of imagination, propositional imagining just is a form of believing. The Single Attitude account is also distinguished from “metarepresentational” accounts of pretense, which hold that both pretending and recognizing pretense in others require one to have concepts of mental states. It is argued, to the contrary, that pretending and recognizing pretense require neither a DCA nor possession of mental state concepts. (shrink)

The current technoscientific progress has led to a sectorization in the philosophy of science. Today the philosophy of science isn't is informal interested in studying old problems about the general characteristics of scientific practice. The interest of the philosopher of science is the study of concepts, problems and riddles of particular disciplines. Then, within this progress of philosophy of science, neuroscientific research stands out, because it invades issues traditionally addressed by the humanities, such as the nature of consciousness, action, knowledge, (...) normativity, etc. As a result, the new area of interdisciplinary study of neuroscience and philosophy arises: neurophilosophy. This emerging area applies neuroscientific concepts to traditional philosophical questions, limiting their responses to neuroscientific revelations about nervous systems. Neurophilosophy research focuses on problems related to the indirect nature of mind and brain, computational or representative analysis of brain process, relationships between psychological and neuroscientific research, adequate adaptations of physical and philosophical concepts in neuroscience and the place of cognitive functions. Now, the temporal representation of conscious experience and the types of the neural architecture to represent objects in time have aroused scientific interest. Under these interests, we focus on the studies on the temporary triadic structure of phenomenological consciousness in Dan Lloyd and Rick Grush. From Grush’s studies, the importance of Kantian ideas for cognitive neuroscience emerges, due to the active way in which Kant conceived space and time as forms of intuition, within which the mind interprets its experience. Under this perspective, the theoretical arguments of Dennett-Kinsbourne and Eagleman-Sejnowski represent winks in the direction of Kant-Husserl within the neuroscientific goal while considering that the contents provided by the mind included space, objects and perception of causal relationships. Then, theories of cognitive neuroscience are beginning to suggest that these elements are also, as Kant argued, interpretative elaborations provided by mind / brain, and not only content received from outside. In other words, current cognitive neuroscientific theories try to pass from its Humean phase to a Kantian phase. So, the challenge has been to explain that these elements are provided by the mind and the world itself, and how they have the content they have come from. These are lacking in current studies. Filling this gap helps to involve the analysis of the scientist’s experience in his theoretical attitude. In this sense, an investigation under the Kantian-Husserlian approach that involves pure intuitions a priori with the experience of the scientific and neuroscientific concepts represents a ground-breaking. At present, a neurophilosophical study about this does not exist. In this sense, one feasible proposal for research would be based on the application of neuroscientific results of Moser-Britt to philosophical problems of foundational notions in relativistic physics: space, time, space-time, field, etc., under the Kantian-Husserlian approach, which allows to demonstrate the multidisciplinary link between neurophilosophy and physics. This represents a ground-breaking area in current interests in scientific research, with a positive impact in the field of neuroscience, and contributing to the study of abstraction emphasizing the importance of Kant’s Copernican turn and Husserl’s phenomenological ideas in the construction of physical theories. -/- . (shrink)

This contribution examines two radically different explanations of our phenomenal intuitions, one reductive and one strongly non-reductive, and identifies two germane ideas that could benefit many other theories of consciousness. Firstly, the ability of sophisticated agent architectures with a purely physical implementation to support certain functional forms of qualia or proto-qualia appears to entail the possibility of machine consciousness with qualia, not only for reductive theories but also for the nonreductive ones that regard consciousness as ubiquitous in Nature. Secondly, analysis (...) of introspective psychological material seems to hint that, under the threshold of our ordinary waking awareness, there exist further ‘submerged’ or ‘subliminal’ layers of consciousness which constitute a hidden foundation and support and another source of our phenomenal intuitions. These ‘submerged’ layers might help explain certain puzzling phenomena concerning subliminal perception, such as the apparently ‘unconscious’ multisensory integration and learning of subliminal stimuli. (shrink)