In the management of biomedical data, vocabularies such as ontologies and terminologies (O/Ts) are used for (i) domain knowledge representation and (ii) interoperability. The knowledge representation role supports the automated reasoning on, and analysis of, data annotated with O/Ts. At an interoperability level, the use of a communal vocabulary standard for a particular domain is essential for large data repositories and information management systems to communicate consistently with one other. Consequently, the interoperability benefit of selecting a particular O/T as a (...) standard for data exchange purposes is often seen by the end-user as a function of the number of applications using that vocabulary (and, by extension, the size of the user base). Furthermore, the adoption of an O/T as an interoperability standard requires confidence in its stability and guaranteed continuity as a resource. (shrink)

We develop an approach to the problem of de se belief usually expressed with the question, what does the shopper with the leaky sugar bag have to learn to know that s/he is the one making the mess. Where one might have thought that some special kind of “de se” belief explains the triggering of action, we maintain that this gets the order of explanation wrong. We sketch a very simple cognitive architecture that yields de se-like behavior on which the (...) action-triggering functionality of the belief-state is what counts it as de se rather than some prior property of being “de se” explaining the triggering of action. This functionality shows that action-triggering change in belief-state also undergirds a correlative change in the objective involved in the triggered action. This model is far too simple to have any claim to showing how the de se works for humans, but it shows, by illustration, that nothing mysteriously “subjective”” need be involved in this aspect of self-conception. While our exposition is very different from those of Perry and Recanati, all three of us are developing the same kind of view. (shrink)

To help clarify the concept of «teaching practice», this article analyzes a repository of professional skills of the teacher. It then examines how two groups of teacher educators attempting to use this repository to evaluate two teaching sessions (one secondary and one primary). Analyses revealed the difficulty in assessing a session from elements determined a priori from a list of skills. The evaluation of a teaching session seems to require the inclusion of its organic whole. Afin de contribuer à préciser (...) la notion de « pratique enseignante », le présent article analyse un référentiel de compétences professionnelles de l’enseignant. Il examine ensuite la manière dont deux groupes de formateurs d’enseignants tentent d’utiliser ce référentiel pour évaluer deux séances d’enseignement (une dans le secondaire et une dans le primaire). Les analyses révèlent la difficulté à évaluer une séance à partir d’éléments déterminés a priori dans une liste de compétences. L’évaluation d’une séance d’enseignement semble requérir la prise en compte de sa totalité organique. (shrink)

This text presents a few preliminary results of research currently being conducted at the Université de Sherbrooke’s Research Institute on Educational Practices. The study seeks to understand how situations presented in teacher education can support the functioning and success of trainee teachers’ professional learning. The article’s aim is to identify the points of convergence between situations of professional activity, situations of professional learning, and training situations. The text will attempt to analyze the role that can be played by certain training (...) structures that seek to support a professionalization process that we define in terms of a general aim: the construction of professional knowledge. The originality of this research lies in that it draws on the work of Gaston Bachelard to develop a theoretical frame enabling a reading and interpretation of the results. Ce texte présente quelques résultats préliminaires d’une recherche menée présentement à l’Institut de recherche sur les pratiques éducatives de l’Université de Sherbrooke. Cette recherche vise à comprendre comment les situations présentes dans la formation à l’enseignement peuvent soutenir le fonctionnement et la réussite de l’apprentissage professionnel des enseignants en formation. Nous cherchons à identifier les points de rencontre entre les situations d’activité professionnelle, les situations d’apprentissage professionnel et les situations de formation. Nous tenterons d’analyser le rôle que peuvent jouer certains dispositifs visant à soutenir un processus de professionnalisation que nous définissons au regard d’une finalité : la construction de savoirs professionnels. L’originalité de cette recherche est la convocation des travaux de Gaston Bachelard pour élaborer le cadre théorique permettant la lecture et l’interprétation des résultats. (shrink)

This text presents a few preliminary results of research currently being conducted at the Université de Sherbrooke’s Research Institute on Educational Practices. The study seeks to understand how situations presented in teacher education can support the functioning and success of trainee teachers’ professional learning. The article’s aim is to identify the points of convergence between situations of professional activity, situations of professional learning, and training situations. The text will attempt to analyze the role that can be played by certain training (...) structures that seek to support a professionalization process that we define in terms of a general aim: the construction of professional knowledge. The originality of this research lies in that it draws on the work of Gaston Bachelard to develop a theoretical frame enabling a reading and interpretation of the results. Ce texte présente quelques résultats préliminaires d’une recherche menée présentement à l’Institut de recherche sur les pratiques éducatives de l’Université de Sherbrooke. Cette recherche vise à comprendre comment les situations présentes dans la formation à l’enseignement peuvent soutenir le fonctionnement et la réussite de l’apprentissage professionnel des enseignants en formation. Nous cherchons à identifier les points de rencontre entre les situations d’activité professionnelle, les situations d’apprentissage professionnel et les situations de formation. Nous tenterons d’analyser le rôle que peuvent jouer certains dispositifs visant à soutenir un processus de professionnalisation que nous définissons au regard d’une finalité : la construction de savoirs professionnels. L’originalité de cette recherche est la convocation des travaux de Gaston Bachelard pour élaborer le cadre théorique permettant la lecture et l’interprétation des résultats. (shrink)

Benjamin Bagley ('Properly Proleptic Blame', Ethics 127, July 2017) sets out a dilemma for addressed blame, that is, blame addressed to its targets as an implicit demand for recognition. The dilemma arises when we ask whether offenders would actually appreciate this demand, via a sound deliberative route from their existing motivations. If they would, their offense reflects a deliberative mistake. If they wouldn't, addressing them is futile, and blame's emotional engagement seems unwarranted. Bagley wants to resolve the dilemma in such (...) a way that addressed blame's distinctive elements of hostility and emotional engagement can be accounted for. I argue that Bagley's focus on the proleptic character of addressed blame helps to avoid the dilemma, but that Bagley has difficulties accounting for the element of hostility in addressed blame. I suggest that an alternative account of addressed blame makes better sense of Bagley's paradigm example, avoids Bagley's dilemma in the way Bagley's original solution does, because it preserves addressed blame's proleptic character, and can account for addressed blame's elements of emotional engagement and hostility. (shrink)

Tradicionalmente, se ha argumentado que el concepto de eudaimonía en Aristóteles se encuentra anclado en el contexto de una comprensión teleológica del universo, por cuanto dicha noción parece radicar en una definición funcionalista de la naturaleza humana. Teniendo esto en mente, Bernard Williams ha desarrollado una crítica en contra de la propuesta ética de Aristóteles, acusándola de una cierta ambición científica en el campo del razonamiento práctico que resulta insostenible actualmente. Este ensayo busca discutir si, en efecto, estos señalamientos (...) tienen un sustento plausible o si, por el contrario, se basan en una interpretación debatible de los fundamentos de la ética aristotélica. Con este propósito, se analiza la justificación del razonamiento ético de Aristóteles a la luz de los argumentos de Williams y de algunos de sus contradictores. (shrink)

Professeur Finkelstein avait posée la question, pourquoi, bien que leurs réalisations scientifiques et leur scientifique approche soient similaires, Bernard était beaucoup plus connu dans son pays, France, et à son époque, que Bois-Reymond en Allemagne? Une question similaire a été posée au sujet du pourquoi Darwin est connu pour la théorie de l'évolution, tandis que Wallace a été remis en arrière-fond dans leur temps et dans l'histoire. Selon Finkelstein, la cause de la differences entre Bois-Reymond et Bernard, peut (...) être trouvée dans la culture et la place de la science dans l'œil public en France contre les memes choses en Allemagne. C'est-à-dire, la rhétorique de la science a été plus respectée en France qu'en Allemagne, ce que Finkelstein a soutenu avec persuasion et éloquence. (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)

Einer der traditionell gegen den Utilitarismus erhobenen Vorwürfe besagt, Utilitarismus sei mit der Konzeption unveräußerlicher Individualrechte unvereinbar, er könne die Menschenrechte entweder nicht begründen oder schlösse deren Gebotensein schlicht aus. Der Berechtigung dieser Behauptung wird zuerst bei den klassischen Utilitaristen Jeremy Bentham und John Stuart Mill nachgegangen. Der Einwand von Bernhard Williams gegen den Utilitarismus, er würdige den Wert von Integrität der Persönlichkeit nicht, wird anhand seines von ihm selbst gebotenen Beispiels erwogen. Unter den nicht-klassischen Utilitarismen wird die Theorie von (...) Rainer W. Trapp auf ihre Vereinbarkeit mit unveräußerlichen Rechten geprüft. Das Resümee ist uneindeutig: Nicht alle Utilitarismen schließen die Rechtsinhalte unveräußerlicher Individualrechte aus. Nicht alle der uns heute bekannten und als unveräußerlich postulierten Individualrechte lassen sich inhaltlich utilitaristisch begründen. Im Paralipomenon wird das Verhältnis der utilitaristischen Methode zu moralischen Intuitionen überdacht und ein weiterer Einwand Bernard Williams gegen den Utilitarismus geprüft: Ist der Utilitarismus konformistisch? Ein Plädoyer für einen freiheitlichen Utilitarismus in der Tradition Mills bildet den Abschluss. -/- 1. Klassischer Utilitarismus und unveräußerliche Individualrechte / 1.1. Jeremy Bentham (1748–1832): Utilitarismus im Sicherheitsinteresse der Gemeinschaft / 1.2. John Stuart Mill (1806–1873): Utilitarismus der Freiheit als Lebenskunst der Individuen / 2. Zu Bernard Williams` Utilitarismus-Kritik: Integrität oder „Hier steh` ich und ich kann nicht anders!“ / 2.1. Das Jim-Pedro-Beispiel / 2.2. Negative Verantwortlichkeit: „Verhindere das größere Übel!“ / 3. Nicht-klassischer Utilitarismus und unveräusserliche Individualrechte / 3.1. Rainer W. Trapp: Gerechtigkeitsutilitarismus / 3.2. Utilitaristen und deontologische Rigoristen / 4. Resümee: Utilitarismus und unveräusserliche Individualrechte - 5. Paralipomenon: Plädoyer für Utilitarismus als Lebenskunst / 5.1. Ist der Utilitarismus konformistisch? / 5.2. Utilitarismus im Sinne John Stuart Mills als freiheitliche Lebenskunst, als „Art of Life“. (shrink)

Jusqu'à maintenant, il semble qu'on n'ait pas établi de lien entre le rejet par Bolzano de la notation quantificationnelle des propositions universelles de la logique traditionnelle et l'articulation inédite de sa notion de validité universelle. C'est ce que je veux faire ici. En particulier, dans la mesure où l'analyticité est un cas spécial de la validité universelle, j'ai l'intention de défendre l'idée qui veut que la notion bolzanienne d'analyticité cherche à résoudre des problèmes qui sont intrinsèquement liés à la théorie (...) traditionnelle de la quantification universelle tels qu'ils surviennent, notamment avec le traitement kantien de l'analyticité. It seems that the connection between Bolzano's rejection of the traditional quantificational notation for universal propositions and the articulation of his notion of universal validity has remained, until today, perfectly unnoticed. In this paper, I will show that there is such a connection. Particularly, since analyticity is a special case of universal validity, my intention is to show that the problems to which Bolzano's perfectly original account of analyticity seeks to find an answer are intrinsically related to the traditional conception of universal quantification as it arises in the context of Kant's treatment of analyticity. (shrink)

Cette contribution propose une analyse comparée de la manière dont Bernard de Fontenelle, pour l’Académie des sciences de Paris, et Samuel Formey, pour l’Académie des sciences et des belles-lettres de Berlin, théorisent le rôle et le mode de fonctionnement des académies, ainsi que leur inscription dans la catégorie générale d’histoire de l’esprit humain. Cela permet de montrer comment leur fonction épistémologique est en étroite relation avec le statut politique qui leur est conféré.

Cette contribution propose une analyse comparée de la manière dont Bernard de Fontenelle, pour l’Académie des sciences de Paris, et Samuel Formey, pour l’Académie des sciences et des belles-lettres de Berlin, théorisent le rôle et le mode de fonctionnement des académies, ainsi que leur inscription dans la catégorie générale d’histoire de l’esprit humain. Cela permet de montrer comment leur fonction épistémologique est en étroite relation avec le statut politique qui leur est conféré.

It is argued that physics must eventually expand to accommodate mind and consciousness but that this will require a new paradigm. The paradigm required will impinge on two problems on the borders of physics and philosophy: the relationship between physical space and perceptual space and the nature of the passage of time. It is argued that the resolution of both these problems may involve a 5-dimensional model, with the 5th dimension being associated with mental time, and this proposal may relate (...) to recent developments in brane cosmology. A description of consciousness must also entail a proper understanding of the specious present, the minimum timescale of conscious experience, this possibly being associated with a compactified extra dimension. There could even be a hierarchy of levels of consciousness, associated with a hierarchy of extra dimensions. (shrink)

The problem of time involves an overlap between physics, philosophy, psychology and neuroscience. My talk will discuss the role of time in physics but also emphasize that physics may need to expand to address issues usually regarded as being in the other domains. I will first review the mainstream physics view of time, as it arises in Newtonian theory, relativity theory and quantum theory. I will then discuss the various arrows of time, the most fundamental of which is the passage (...) of time associated with consciousness. I will argue that this goes beyond both relativity theory and quantum theory, so that one needs some new physical paradigm to accommodate it. A new paradigm is required anyway to describe quantum gravity and this may elucidate the nature of both time and consciousness. (shrink)

In this paper, I ask whether mishpat ivri (Jewish Law) is appropriately conceived as a “legal system”. I review Menachem Elon’s use of a “Sources” Theory of Law (based on Salmond) in his account of Mishpat Ivri; the status of religious law from the viewpoint of jurisprudence itself (Bentham, Austin and Kelsen); then the use of sources (and the approach to “dogmatic error”) by halakhic authorities in discussing the problems of the agunah (“chained wife”), which I suggest points to a (...) theory more radical than the “sources” theory of law, one more akin to the ultimate phase of the thought of Kelsen (the “non-logical” Kelsen) or indeed to some form of Legal Realism (with which that phase of Kelsen’s thought has indeed been compared)? I finally juxtapose an account based on internal theological resources (a “Jurisprudence of Revelation”). Downloadable at at http://www.biu.ac.il/JS/JSIJ/jsij1.html. (shrink)

Ian Stevenson's achievements lay not only in the corpus of his written works but also in the influence he had on colleagues whom he exhorted to take an interest in the subject from other fields. One of them is Bernard Carr. Stevenson showed much enthusiasm talking about Carr's two experiments with the Cambridge University Society for Psychical Research, one involving an attempt to detect the telepathic transmission of emotion using hypnotized subjects and psychogalvanic skin response and the other was (...) an investigation of the relative roles of telepathy and clairvoyance in extrasensory perception. Stevenson meticulously read and commented on his work and even invited him to visit his group with the intention of preparing reports for publication. Carr was grateful for the passion he instilled in him for psychical research as a result of these experiences. (shrink)

Levi ben Gerson was a medieval astronomer who responded in an unusual way to the Ptolemaic tradition. He significantly modified Ptolemy’s lunar and planetary theories, in part by appealing to physical reasoning. Moreover, he depended on his own observations, with instruments he invented, rather than on observations he found in literary sources. As a result of his close attention to the variation in apparent planetary sizes, a subject entirely absent from the Almagest, he discovered a new phenomenon of Mars and (...) noticed a serious flaw in Ptolemy’s treatment of the Moon. (shrink)

Parapsychology will only be accepted as part of mainstream science if physics can be extended to accommodate at least some so-called psychic phenomena. This paper disagrees with the argument of Reber and Alcock that these phenomena can be excluded a priori because they are incompatible with physics. On the other hand, it agrees with their claim that the phenomena cannot be explained in terms of current physics (eg. relativity theory and quantum theory). Rather one needs an extension of physics which (...) amalgamates these theories, this being an aim of mainstream physics anyway, with the new theory also linking to consciousness if this is regarded as a fundamental rather than incidental feature of the universe. One possible extension involves the idea that perceptual space and physical space are amalgamated as part of a 5-dimensional reality structure, the extra dimension being associated with mental (rather than physical) time. Such a model may be required to accommodate even normal mind and incorporating further dimensions might then allow some paranormal phenomena. This could also relate to the extra dimensions invoked in some models of particle physics. (shrink)

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

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove (...) that terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

Judgment subjectivism is the view that x is good for S if and only if, because, and to the extent that S believes, under the proper conditions, that x is good for S. In this paper, I offer three related arguments against the theory. The arguments are about what judgment subjectivism implies about the well-being of welfare nihilists, people who believe there are no welfare properties, or at least that none are instantiated. I maintain that welfare nihilists can be benefited (...) and harmed. Judgment subjectivism is implausible because it implies otherwise. (shrink)

Advocates of the use of intuitions in philosophy argue that they are treated as evidence because they are evidential. Their opponents agree that they are treated as evidence, but argue that they should not be so used, since they are the wrong kinds of things. In contrast to both, we argue that, despite appearances, intuitions are not treated as evidence in philosophy whether or not they should be. Our positive account is that intuitions are a subclass of inclinations to believe. (...) Our thesis explains why intuitions play a role in persuasion and inquiry, without conceding that they are evidential. The account also makes predictions about the structure of intuitions that are confirmed by independent arguments. (shrink)

Translated by Bernard Linsky This is the first English translation of Roman Ingarden’s paper presented at the 8th World Congress of Philosophy held in Prague in 1934: “Der Logistische Versuch einer Neugestaltung der Philosophie: Eine Kritische Bemerkung”, translated here as “The Logical Attempt at a New Formulation of Philosophy: A Critical Remark”. Also translated here are brief discussions by Rudolf Carnap and Otto Neurath. These essays were published in the original German in the Proceedings of the Congress in 1936. (...) This statement of Ingarden’s criticisms of the doctrines of the Vienna Circle has been mentioned in print, but his views have not been discussed, or indeed accurately reported to date. (shrink)

Ernst Mally’s Gegenstandstheoretische Grundlagen der Logik und Logistik (1912) proposes that the abstract object “the circle” does not satisfy the properties of circles, but instead “determines” the class of circles. In this he anticipates the notion of “encoding” that Edward Zalta proposes for his theory of Abstract Objects. It is argued that Mally did anticipate the notion of “encoding”, but sees it as a way of taking the concept as the subject of a proposition, rather than as a primitive notion (...) in the theory of a new ontological category of abstract objects, as Zalta does. (shrink)

This paper investigates the strange case of an argument that was directed against a positivist verification principle. We find an early occurrence of the argument in a talk by the phenomenologist Roman Ingarden at the 1934 International Congress of Philosophy in Prague, where Carnap and Neurath were present and contributed short rejoinders. We discuss the underlying presuppositons of the argument, and we evaluate whether the attempts by Carnap (especially) actually succeed in answering this argument. We think they don’t, and offer (...) instead a few sociological thoughts about why the argument seems to have disappeared from the profession’s evaluaton of the positivist criterion of verifiability. (shrink)

Artykuł, opublikowany po raz pierwszy w 1979 r., jest jednym z najczęściej cytowanych tekstów filozoficznych z drugiej połowy XX wieku. Tekst Bernarda Williamsa zainicjował kilka ważnych debat, toczących się do dziś w etyce i filozofii działania. Zaproponowana przez niego interpretacja pojęcia racji działania jest, z jednej strony, niezwykle wpływowa, ale z drugiej bardzo niejednoznaczna i często krytykowana. Williams broni stanowiska, które z czasem zaczęto określać jako internalizm racji: pewne względy są racjami działania dla danego podmiotu tylko wtedy, gdy mają ścisły (...) związek z "subiektywnym układem motywacyjnym" tego podmiotu, czyli z jakimiś aspektami jego psychiki, charakteru, celów, pragnień, planów, relacji z innymi itd. Stwierdzenie, że ktoś ma rację, by coś zrobić (a jeśli uznajemy, że jest to racja przeważająca - to, że powinien to coś zrobić), znaczy więc wedle tego stanowiska tyle, że ten ktoś jest w stanie być motywowany, by to coś zrobić. W przeciwieństwie do tego stanowisko określane obecnie ako eksternalizm racji głosi, że pewne względy mogą być racjami działania dla danego podmiotu także wtedy, gdy odwołują się do niezależnych od jego układu motywacyjnego własności świata. Williams wychodzi od modelu działania nawiązującego do koncepcji Hume'owskiej, następnie przedstawia jego bardziej rozbudowaną wersję, omawia rolę namysłu, naturę potrzeb, a także przedstawia argument za internalizmem racji, określany jako argument z wyjaśniania działania. Głosi on, że nawet gdyby istniały zewnętrzne racje działania, niezwiązane z subiektywnym układem motywacyjnym danego podmiotu, to odwołanie się do nich nie byłoby w stanie wyjaśnić, dlaczego dany podmiot postąpił tak, a nie inaczej, gdyż "nic nie jest w stanie wyjaśnić (zamierzonych) działań podmiotu za wyjątkiem czegoś, co motywuje go działania". (shrink)

The history of the regulation of animal research is essentially the history of the emergence of meaningful social ethics for animals in society. Initially, animal ethics concerned itself solely with cruelty, but this was seen as inadequate to late 20th-century concerns about animal use. The new social ethic for animals was quite different, and its conceptual bases are explored in this paper. The Animal Welfare Act of 1966 represented a very minimal and in many ways incoherent attempt to regulate animal (...) research, and is far from morally adequate. The 1985 amendments did much to render coherent the ethic for laboratory animals, but these standards were still inadequate in many ways, as enumerated here. The philosophy underlying these laws is explained, their main provisions are explored, and future directions that could move the ethic forward and further rationalize the laws are sketched. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

Results: We analyzed 1,402 surveys and 15 in-depth interviews. Many (32%) CL participants reported greater difficulty refilling medications and a minority (14%) reported greater difficulty accessing HIV care during the pandemic. Most (99%) Opt4Mamas participants reported no difficulty refilling medications or accessing HIV/pregnancy care. Among the CL participants, older women were less likely (aOR = 0.95, 95% CI: 0.92–0.98) and women with more children were more likely (aOR = 1.13, 95% CI: 1.00–1.28) to report difficulty refilling medications. Only 2% of (...) CL participants reported greater difficulty managing FP and most (95%) reported no change in likelihood of using FP or desire to get pregnant. Qualitative analysis revealed three major themes: (1) adverse organizational/economic implications of the pandemic, (2) increased importance of pregnancy prevention during the pandemic, and (3) fear of contracting COVID-19. (shrink)

In the second Meditation, Descartes argues that, because he thinks, he must exist. What are his reasons for accepting the premise of this argument, namely that he thinks? Some commentators suggest that Descartes has a ‘logic’ argument for his premise: It is impossible to be deceived in thinking that one thinks, because being deceived is a species of thinking. In this paper, I argue that this ‘logic’ argument cannot contribute to the first certainty that supposedly stops the Cartesian doubt. Rather, (...) this certainty must be based on another type of access to our own minds, possibly a faculty of introspection. Applying this result to contemporary constitutive theories of self-knowledge (Wright), I show that these cannot be part of what justifies the ascription of particular mental states to a subject. -/- En la segunda de sus "Meditaciones metafísicas", Descartes argumenta que, porque piensa, debe existir. ¿Cuáles son sus razones para aceptar la premisa de este argumento, a saber el que piensa? Algunos comentaristas sugieren que Descartes tiene un argumento 'lógico' para su premisa: No es posible ser engañado en creer que uno piensa, porque el ser engañado también es una especie de pensamiento. En mi ponencia arguyo que este argumento 'lógico' no puede contribuir a la certeza que supuestamente para la duda cartesiana. Más bien, esta certeza debe fundarse en otro tipo de acceso, talvez de forma introspectiva, que tenemos a nuestra propia mente. Aplicando este resultado a teorías contemporáneas constitutivas del autoconocimiento (Wright), muestro que éstas no pueden contribuir a la justificación de la adscripción de estados mentales particulares. (shrink)

This is the first English translation of Leon Chwistek’s “Tragedia werbalnej metafizyki,” Kwartalnik Filozoficzny, Vol. X, 1932, 46–76. Chwistek offers a scathing critique of Roman Ingarden’s Das literarische Kunstwerk and of the entire Phenomenology movement. The text also contains many hints at Chwistek’s own philosophical and formal ideas. The book that Chwistek reviews attracted wide attention and was instrumental in winning Ingarden a position as Professor of Philosophy at the University of Lwów in 1933. Chwistek’s alienation from his fellow logicians (...) of the Lvov-Warsaw school is clear from his ridicule of Leśniewski’s project. (shrink)

This article tries to establish the scopes and limits of the main interpretations on Newton during the 20th century, highlighting on the one hand the textual evidence at disposal, and on the other hand the philosophical and epistemological currents that defines the main features of those interpretations. It will be shown that the rejection of positivism is not sufficient condition for establishing an adequate interpretation and, together with the strengthening of the research from Newton’s manuscript, it is necessary a wider, (...) and more detailed model that those established by some of the most outstanding scholars like Alexandre Koyré, I. Bernard Cohen, Betty Dobbs, and Richard Westfall. (shrink)

The article describes the background of Roman Ingarden's 1922 review of Leon Chwistek's book Wielość rzeczywistości, and the back-and-forth that followed. Despite the differences, the two shared some interesting similarities. Both authors had important ties to the intellectual happenings outside Poland and were not considerd mainstream at home. In the end, however, it is these connections that allowed them to gain recognition. Ingarden, who had been a student of Husserl, became the leading phenomenologist in the postwar Poland. For Chwistek, a (...) painter, philosopher, and logician interested in Russell’s work, such connections meant that he won the competition for a professorship at the university in Lwów over Alfred Tarski. Until recently, Chwistek’s place in Polish logic remains unclear and Ingarden’s interactions with Polish logic and the Vienna Circle have not been investigated extensively. A deeper look at this intellectual fracas between Ingarden and Chwistek helps one in the study of the complicated mesh of alliances within the Lwów-Warsaw School. The article also identifies the origins of the split between phenomenology and the analytic philosophical tradition in Poland. The article is also accompanied by the translations of the reviews. (shrink)

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

Philosophy has long been seen as a crucial instrument for living a meaningful life. Nonetheless, for more than a decade, systematic philosophical study in Africa has been dominated by a single compound question: Is there an African philosophy, and if so, what is its nature? When it comes to Africa and philosophy, there is a lot of debate about whether or not Africans have a philosophy. Africans have long been accused of being irrational. Some Western scholars’ interpretations of African philosophy (...) may help us comprehend it better. The Aime Cesaire-led Negritude movement, the Harlem Revolution, the South African Apartheid movement, and others are all examples of recent literature expressing opposition to the perspective of black inferiority and various insults directed at black Africans. Some European scholars did accuse Africans of being irrational beings. These claims provided the impetus for the spread of various beliefs and ideologies masquerading as African philosophy. In light of this, the purpose of this essay is to disprove prejudicial claims made against Africans and African philosophy. The works of Western thinkers such as Immanuel Kant, Georg W. F. Hegel, and Lucien Levy-Bruhl would be highlighted. (shrink)

In today’s society of humans and machines, automation, animation, and ecosystems are terms of concern. Categories of life and technology have become mixed in governmental policies and drive economic exploitation and the pathologies of everyday life. This book both curiously and critically advances the term that underlies these new developments: machine.

In this article I discuss the main theses of the realist political philosophy developed in recent years by Raymond Geuss and embodied in his famous Philosophy and Real Politics. Once the motivations behind Geuss’ project identified and its similarities and differences with the other great realistic philosophical-political project of our days, that of Bernard Williams, pointed out, I critically expose Geuss’ theses and his objections to the Kantian and Rawlsian ways of doing political philosophy. In addition to discussing the (...) central points of his proposal, I present two general responses to it, one doctrinal and the other methodological. (shrink)

In this paper, I show where Adolf Reinach comes down on the question of conflicts of obligation. The aim is to look at whether Reinach’s phenomenological realism of obligation holds its own against positions developed by Bernard Williams concerning the nature and import of obligations, and their capacity or incapacity to impinge upon each other and other moral and non-moral concerns. It is shown that even if Reinach turns out to succumb to pitfalls Williams identifies, he nonetheless verges upon (...) agreement with Williams in more ways than one might expect. This result is significant because it shows that Reinach’s phenomenological realism, in contrast to certain forms of moral realism, lays the foundations for what can be considered a heterontology of obligation and ethical concerns, which is presupposed by the experience of (moral) conflict in the first place. (shrink)

Four initial postulates are presented (with two more added later), which state that construction of the physical universe proceeds from a sequence of discrete steps or "projections" --- a process that yields a sequence of discrete levels (labeled 0, 1, 2, 3, 4). At or above level 2 the model yields a (3+1)-dimensional structure, which is interpreted as ordinary space and time. As a result, time does not exist below level 2 of the system, and thus the quantum of action, (...) h, which depends on time (since its unit is time•energy), also does not exist below level 2. This implies that the quantum of action is not fundamental, and thus e.g. that the physical universe cannot have originated from a quantum fluctuation. When the gravitational interaction for the model is developed, it is seen that the basic ingredient for gravity is already operating at level 1 of the system, which implies that gravity, too, is not fundamentally quantum mechanical (since, as stated, h only kicks in at level 2) --- perhaps obviating the need for a quantum theory of gravity. Further arguments along this line lead to the conclusion that quantum fluctuations cannot be a source of gravity, and thus cannot contribute to the cosmological constant --- thereby averting the cosmological constant problem. Along the way, the model also provides explanations for dark energy, the beginning and ending of inflation, quark confinement, and more. Although the model dethrones the quantum, it nevertheless elevates an idea in physics that was engendered by quantum mechanics: the necessary role of "observers" in constructing the world. (shrink)