This chapter discusses the controversy over the legacy of Kantian moral philosophy in Dewey’s German Philosophy and Politics. It argues that the polemical reaction to Dewey’s book by Julius Ebbinghaus, reiterated through Axel Honneth and Ebbinghaus’s student Georg Geismann, is based on talking at cross-purposes. While Dewey’s reading of Kant is, indeed, flawed, Ebbinghaus and Geismann misconceive Dewey’s argumentative intent. Nevertheless, the controversy serves to clarify Dewey’s line of argument and to discuss parallels with and differences from the world war (...) genealogy and the Frankfurt School’s theory of immanent critique. Furthermore, the chapter suggests that the role of Hegel’s Emptiness Charge in German Philosophy and Politics should be considered in light of Dewey’s theory of growth. Accordingly, Dewey’s book is not merely a piece of “world war literature”, first, because its line of argument also appears in books by Dewey, which are surely not part of this category, and second, because the Hegelian Emptiness Charge is a variant of what Dewey calls a philosophical fallacy. (shrink)

Jean-François Lyotard's intellectual evolution in the late 1970s and 1980s is well known in continental philosophy. In 1979, with the publication of The Postmodern Condition, Lyotard became famous for his report on "the obsolescence of the metanarrative apparatus of legitimation". Later, in his magnum opus Le diférend he expanded on this, claiming that "a universal rule of judgment between heterogeneous genres is lacking in general". Yet, this creative moment in Lyotard's career, responsible for shaping the philosophical concept of the postmodern (...) condition, is rarely connected to his book La guerre des Algériens (1989). This work was supposed to implement his new postmodern concepts in relation to the war in Algeria. The present article looks at La guerre des Algériens, within its broader historical and philosophical context, as a unique opportunity to evaluate the validity of Lyotard's philosophical shift, especially his new concept of radical heterogeneity at work in history. (shrink)

This article aims to combine the strengths of Erich Fromm’s and John Dewey’s social philosophies. I argue that the merits of this comparison become particularly clear when the theories are outlined and compared in the following three steps. First, a social theoretical common ground of Dewey and Fromm will be illustrated. Their “World War genealogies” share the same defense mechanism as the major explanation of the Germans’ tendency to voluntary submission, which involves a strong feeling of powerlessness. Against this background, (...) the next step elaborates the ethical side of their argument. Already the World War genealogies are written with melioristic intent, and especially later works (in case of both authors) elaborate the respective ethical theory as well as the ideas concerning melioristic social science and social psychology. These ethics aim at good communication (in a broad sense), while the melioristic social research focuses on the concrete manifestations of social character, allowing to empirically identify hindering and facilitating factors of social amelioration. Both can be linked using the concept of communicative power(lessness). By way of outlook, I will finally consider the combination of a democratic, communication-oriented ethics with qualitative sociopsychoanalytic research in Fromm’s sense as a straightforward and promising approach for an interdisciplinary social philosophy. (shrink)

The violent death of Landauer in May 1919 at the end of the Räterepublik of Munich left several of his best friends with a terrible feeling: a sense of tension between the unique hopes incarnated by Landauer and the spiritual and political void his passing left behind. This article is an attempt to capture the tragic shift from a living revolutionary who projected his unique anarchist views onto the failed Munich Revolution to the efforts of a group of close friends (...) who searched to save their dear Landauer from the infamy of failure, making of his months in Munich and his death an important amendment to his spiritual and political legacy. (shrink)

Deception has recently received a significant amount of attention. One of main reasons is that it lies at the intersection of various areas of research, such as the evolution of cooperation, animal communication, ethics or epistemology. This essay focuses on the biological approach to deception and argues that standard definitions put forward by most biologists and philosophers are inadequate. We provide a functional account of deception which solves the problems of extant accounts in virtue of two characteristics: deceptive states have (...) the function of causing a misinformative states and they do not necessarily provide direct benefits to the deceivers and losses to the targets. (shrink)

This first critical edition of Isaac Abravanel’s correspondence opens a window into the cultural, political and commercial world of one of the first Jewish humanists of the quattrocento. Jewish leader of the expelled Sephardim after 1492, commentator of the Bible, Abravanel is a legendary figure of the Sephardic history. The edition of the letters along with the introductive essay that reconstructs their cultural background intends to connect the legendary figure of Abravanel to the major reason of his remarkable career: his (...) successful assimilation of Renaissance humanism. (shrink)

This article offers a history of the German concept of translation in four stages, moving from Luther’s Verdeutschung to Mendelssohn’s translation of the Psalms, and from the re-elaboration of the translation concept by Freud, Rosenzweig and Benjamin to Derrida’s Des tours de Babel. During the postwar years, many philosophers have studied different aspects of the Classical and Romantic elaboration of the German concept of translation. The contribution of this article is not to revisit these analyses, that are by now well (...) known, but to shed light on the role played by certain Jewish thinkers in the history of the Germanic concept of translation at the end of the 18th century and the beginning of the 20th, and also, later, within the French philosophy of the years 1960-1990. (shrink)

The article presents an inter-regional and inter-religious discussion of the crisis of liberalism that challenges some of the common assumptions in the study of intellectual history. The paper begins by painting with a broad brush the migration of eighteenth- and nineteenth-century European liberal transformations to the rapidly changing Ottoman Empire in the nineteenth century. In the second part, the essay focuses on Paris’s interwar intellectual scene, where this expansion of liberalism is reflected critically from the perspective of the European crisis (...) of the 1930s. Moving from the East to the West, the chapter reconstructs step by step a growing convergence that established itself between the theopolitical question of the late Ottoman Empire and important intellectual trends in the interwar period in Paris. For this purpose, it uses as a guiding thread a Jewish intellectual episode: Leo Strauss’s rediscovery of a Jewish–Islamic philosophical model successfully developed during the Middle Ages. The reconstruction of this episode and its intellectual background in the 1930s illuminates an overlooked interconnection with similar questioning in the late and post-Ottoman Levant. (shrink)

Picture a simple scenario: a worm, in its modest way, traces a trail of paint as it moves across a sheet of paper. Now shift your imagination to a more complex scene, where a chimpanzee paints on another sheet of paper. A simple question arises: Do you perceive an identical creative process in these two animals? Can both of these animals be designated as authors of their creation? If only one, which one? This paper delves into the complexities of authorship, (...) consciousness, and agency, unpacking the nuanced distinctions between such scenarios and exploring the underlying principles that define creative authorship across different forms of life. It becomes evident that attributing authorship to an animal hinges on its intention to create, an aspect intertwined with its agency and awareness of the creative act. These concepts are far from straightforward, as they traverse the complex landscapes of animal ethics and law. But our exploration does not stop there. Now imagine a robot, endowed with artificial intelligence, producing music. This prompts us to question how we should evaluate and perceive such creations. Is the creative process of a machine fundamentally different from that of an animal or a human? As we venture further into this realm of human-made intelligence, we confront an array of ethical, philosophical, and legal quandaries. This paper provides a platform for a reflective discussion: ethologists, neuroscientists, philosophers, and bioinformaticians converge in a multidisciplinary dialogue. Their insights provide valuable perspectives for establishing a foundation upon which to discuss the intricate concepts of authorship and appropriation concerning artistic works generated by non-human entities. (shrink)

The journey of Byzantine scholar Manuel Chrysoloras and his stay in Florence at the turn of the fourteenth and fifteenth centuries has been celebrated as an event that decisively shaped the course of European humanism. The later return of Enlightenment humanism to Ottoman lands in the eighteenth to early twentieth centuries can be described as the return of Chrysoloras. This return is generally known in a fragmentary form as a regional phenomenon: the story of Greek, Arab, Turkish and Jewish nationalisms (...) and of the Ottoman reforms. It is also framed historically as the evolution from a traditional and theological society to new forms of epistemic, literary, civic and national communities, while often leaving aside failures and later contradictory transformations. The present essay offers an integrative study of modern humanism in late Ottoman and post-Ottoman contexts. The migration of Enlightenment humanism to the Middle East raised a wide range of expectations, projecting a new national or imperial organization within a harmonious diplomatic relationship with Christian Europe and the Americas. Yet, the more the revivalist and reformist projects evolved, the more they involved ethnic and religious conflicts and colonial intervention. This article illuminates the rise and fall of humanism in Middle Eastern contexts. (shrink)

Don Isaac Abravanel was one of the first Jewish thinkers to express republican positions, yet very little is known about his knowledge of humanistic republican conceptions. Had he read Leonardo Bruni’s republican writings? Had he even heard of them? In this essay I attempt to address this philological gap by comparing Abravanel’s republican commentary on 1 Samuel 8 with Bruni’s Laudatio florentinae Urbis, especially the motif of the plea to God to authorize a political regime. This comparison is particularly useful (...) for illuminating their respective positions on republicanism, their shared interests and conceptions, as well as their divergent attitudes to their own political and historical environment. This divergence, I argue, sheds light on the early modern Christian and Jewish receptions of ancient republicanism. (shrink)

This paper aims to shed new light on major features of the early Zionist construction of a Jewish political space. Revisiting two early debates of Martin Buber (1878-1965) with Max Nordau (1849-1923) and Hermann Cohen (1842-1918), the article points at the limitation of the Zionist political construction for a later articulation of the Jewish and Palestinian complexity in a shared or divided land. Herzl’s understanding of Zionism as a strictly political and economic apparatus brought to an historical and ideological debate (...) at the fifth Zionist Congress in 1901 between the young Buber and the faithful associate of Herzl, Nordau. Against Nordau’s prioritization of the productivization of Jews, Buber developed in his famous speech on “Jewish Art” the necessity of a cultural and spiritual elevation of Jews. In 1916, in the middle of WWI, Buber’s cultural notion of Jewish national regeneration in Eretz Israel sets the backdrop for another debate and clash, this time with the German Jewish philosopher Hermann Cohen. (shrink)

This article proposes the first systematic explanation and analysis of Gustave Landauer’s central concept of Antipolitik. Liberation from the rule of the one or the many is at the heart of Landauer’s notion of antipolitics. For the purpose of understanding the originality of Landauer’s antipolitical stance, this essay juxtaposes Landauer’s key texts on this concept with several sources that constitute its philosophical background. With reference to La Boétie, Hobbes, Nietzsche, Proudhon, Kropotkin, Aristotle, Tönnies, and Marx, it clarifies three central dimensions (...) in Landauer’s concept of antipolitics: the psychological critique of political modernity, the search for a renewal of the spirit, and the therapeutic return to the community. (shrink)

Walter Benjamin teaches us that books have a Nachreife, a “maturing process” in their afterlife during which they leave their original but limited historical and cultural context in order to take part in a process that is not defined by the intention of the author or the reader. Through their interaction, writers and readers transform the relationships among the times, places, languages, and schools of thought that informed a literary or philosophical work when it was born. Don Isaac Abravanel’s critical (...) reception of Gersonides is an interesting example of such a transformation, in that it both disassembled the Provençal scholar’s initial scientific and theological project and established new links and interpretations. Don Isaac’s critique of Gersonides did not derive only from a historical process within the Jewish intellectual sphere; it also followed Christian and Humanist trends, including Petrarch’s development of a Humanist defense of religion, more independent of science. Abravanel’s critical reception of Gersonides is an interesting meeting point of Jewish and Christian literary and philosophical trends. In that sense, the cultural and historical processes that informed Abravanel’s attitude towards Gersonides helped create the conditions for a belated literary encounter between two great scholars who had lived in the same geographical and cultural environment of the papal court at Avignon: Gersonides and Petrarch. This new connection produced by the reception process is what our comparative study of Abravanel’s reading of Gersonides in both Jewish and Christian contexts attempts to demonstrate. (shrink)

“For it is not impossible that a nation should have many leaders who convene, unite, and reach a consensus; they can thus govern and administer justice… Then also, why cannot they have terms of office…? When the turn of other magistrates comes to replace them, they will investigate the abuses of trust committed by earlier [magistrates]; Those found guilty will pay for their crimes… Finally, why cannot their powers be limited and determined by laws or norms?” These lines of Don (...) Isaac Abravanel’s Commentary on 1 Sam 8 earned him fame in 20th century scholarship as “the first early modern Jewish republican thinker.” Yet, the history of the modern rediscovery of Abravanel’s political thought is relatively unknown, and more so, its philosophical and political meaning. My paper will try to elucidate an important part of this history, while emphasizing its value for an understanding of the criticism of the Wissenschaft des Judentums between the two World Wars. (shrink)

This article intends to shed new light on the impressive series of “war writings,” in which Hermann Cohen developed the idea of a possible messianic collaboration of German imperial ambitions and a modern Jewish Diaspora regenerated by German Spirit (from Russia to America). My paper pays special attention to two lecture tours planed by Cohen in the year 1914, one to Petersburg, Moscow, Riga, Vilna and Warsaw in May 1914, a few weeks before the outbreak of WWI; the other a (...) propaganda trip to America imagined at the beginning of WWI (Autumn 1914) by Cohen and a group of Jews linked to the Centralverein deutscher Staatsbürger jüdischen Glaubens – a plan which failed and turned only into the publication of an article in several American newspapers in German, English and Yiddish in early 1915. The article brings into consideration new archival material concerning the political background of these two initiatives. The article demonstrates how Cohen’s writings and activities during WWI were deploying a new Jewish and Imperial politics – which sought to pave the way for a messianic integration of Jewish Diaspora in the Imperial project of Germany, understood as the political realization of German Idealism. (shrink)

This volume brings together scholars from a range of disciplines to explore the intersections between crisis, scholarship, and action. The aim of this book is to think about the “moment of crisis,” through the concepts, writings, and methodologies awarded to us by Jewish thinkers in modernity. This book offers a broad gallery of accounts on the notion of crisis in Jewish modernity while emphasizing three terms: interpretation, heresy, and messianism. The main thesis of the volume is that the diasporic and (...) exilic experience of the Jewish people turned their philosophers and theologians into “experts in crisis management” who had to find resources within their own religion, culture and traditions in order to react, endure and overcome short- and long-term historical crises. The underlining assumption of this book is therefore that Jewish thought obtains resources for conceptualizing and reacting to the current forms of crisis in the global, European, and Israeli spheres. The volume addresses a large readership in humanities, social and political sciences and religious studies, taking as its assumption that scholars in modern Jewish thought have an extended responsibility to engage in contemporary debates. (shrink)

Walter Benjamin teaches us that books have a Nachreife, a “maturing process” in their afterlife during which they leave their original but limited historical and cultural context in order to take part in a process that is not defined by the intention of the author or the reader. Through their interaction, writers and readers transform the relationships among the times, places, languages, and schools of thought that informed a literary or philosophical work when it was born. Don Isaac Abravanel’s critical (...) reception of Gersonides is an interesting example of such a transformation, in that it both disassembled the Provençal scholar’s initial scientific and theological project and established new links and interpretations. Don Isaac’s critique of Gersonides did not derive only from a historical process within the Jewish intellectual sphere; it also followed Christian and Humanist trends, including Petrarch’s development of a Humanist defense of religion, more independent of science. Abravanel’s critical reception of Gersonides is an interesting meeting point of Jewish and Christian literary and philosophical trends. In that sense, the cultural and historical processes that informed Abravanel’s attitude towards Gersonides helped create the conditions for a belated literary encounter between two great scholars who had lived in the same geographical and cultural environment of the papal court at Avignon: Gersonides and Petrarch. This new connection produced by the reception process is what our comparative study of Abravanel’s reading of Gersonides in both Jewish and Christian contexts attempts to demonstrate. (shrink)

A la question « quo vadis Israel ?», il est possible de répondre partiellement en juxtaposant l’été 2018, et notamment la loi fondamentale « Israël État-nation du Peuple Juif » votée le 19 juillet sous l’impulsion du gouvernement Netanyahu, et l’été 2011, où un mouvement de protestation commença le 14 juillet sur l’Avenue Rothschild à Tel Aviv, s’étendant ensuite à tout Israël et atteignant des proportions jamais connue dans le pays. Comment sommes-nous passés de l’espoir soulevé par le mouvement social (...) de 2011 qui faisait suite au Printemps arabe de Tunisie et d’Egypte, à la réaction politique implacable déployée par les différents gouvernements Netanyahu? Les quelques pages qui suivent tenteront de faire passer, ou plutôt de faire chuter le lecteur du soulèvement de l’été 2011 au changement néfaste de régime qui s’annonce avec le vote de la loi fondamentale « Israël État-nation du Peuple Juif. » L’auteur de ces lignes, témoin engagé, ne prétend pas à une étude historique de cette chute. Il a simplement voulu faire résonner sur le papier certaines des voix discordantes de ces sept dernières années. (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)

This paper presents and discusses design studio outcomes developed in response to a studio brief linked to the Fun Palace Futures initiative of the Royal British Institute of British Architects (RIBA) in honour of architect Cedric Price and artist Joan Littlewood. The studio brief was collaboratively developed by the authors. Its core question was: How could the thoughts that guided the development and design of the Fun Palace – a project that was never built but is still today cited as (...) a model for thinking flexible and open architecture – be re-interpreted and renewed for the future? This line of thinking guided the initial and experimental research phase, during which students developed an understanding of what indeterminacy is or could be. The paper shows that through the translation of some of the essential principles of the Fun Palace project into pedagogical instruments, students were enabled to approach the questions of indeterminacy in an open and innovative manner. The paper argues that the use of a variety of media, which often went far beyond the conventional architectural pallet, and the introduction of media shifts were crucial in assisting the students in developing their own tools for creating a new kind of open and flexible architecture. The paper presents this pedagogic approach. We show that the conditions of indeterminacy, uncertainty, chance and change, hold potential for framing the design and creation of a new kind of dynamic architecture, and for initiating experimental architectural thinking in a design studio setting. (shrink)

Pode-se dizer que desde o início da ciência moderna muito se falou sobre virtudes teóricas tais como simplicidade, unificação, adequação empírica, fecundidade, coerência, etc., isto é, virtudes de uma boa teoria, mas pouco se falou das virtudes dos cientistas enquanto agentes. Todavia, hoje em dia, cada vez mais vem crescendo um interesse sobre qual é o papel das virtudes e dos vícios epistêmicos dos cientistas. Além de diversos artigos, já existem dois importantes livros os quais possuem diversos contribuidores: “Virtue Epistemology (...) Naturalized: Bridges Between Virtue Epistemology and Philosophy of Science” organizado por Abrol Fairweather em 2014 e “Epistemic Virtues in the Sciences and the Humanities” organizado por Jeroen Van Dongen e Paul Herman em 2017. Contudo a atenção maior foi direcionada às virtudes epistêmicas e não aos vícios epistêmicos. Nesses dois livros citados acima, com o total de 29 capítulos, apenas 1 deles é dedicado ao vício epistêmico. O que não é de todo inesperado, se, de maneira análoga, temos em mente que apenas agora com os trabalhos de Quassim Cassam surgiu uma epistemologia do vício. É nesse cenário que Cedric Paternotte e Milena Ivanova entram na discussão com o artigo “Virtues and Vices in Scientific Practice” publicado em 2017. Apesar de eles apontarem o papel das virtudes e dos vícios na prática científica, será contemplado apenas o que eles falam sobre o vício epistêmico na ciência. O que é dito nesse artigo é simples e controverso: o vício epistêmico pode ter função benéfica para o sucesso científico. Na seção I será explicado brevemente o que são as virtudes epistêmicas, em II fala-se um pouco do cenário das virtudes na história da ciência, III será dedicado a argumentação de Paternotte e Ivanova e, por fim, IV fornecerá três breves comentários sobre a posição dos autores. (shrink)