In the debate about Christian attitudes to other religions, a threefold typology has emerged depicting differing Christian responses: pluralism, inclusivism and exclusivism. (This typology is not restricted to the Christian debate alone.) Traditionally, pluralism is opposed to exclusivism, the former claiming that it is arrogant and untenable to make exclusive truth claims, and that all religions are potentially equal paths to salvation and truth. In contrast, I argue that pluralism must always logically be a form of exclusivism and that nothing (...) called pluralism really exists. The main purpose of my paper is to show that there is no high-ground in the pluralist position, for in principle its logic is no different from the exclusivist position. If this is established, then the debate can proceed with more substantial issues regarding the justification and clarification of truth claims. (shrink)

The translational research community, in general, and the Clinical and Translational Science Awards (CTSA) community, in particular, share the vision of repurposing EHRs for research that will improve the quality of clinical practice. Many members of these communities are also aware that electronic health records (EHRs) suffer limitations of data becoming poorly structured, biased, and unusable out of original context. This creates obstacles to the continuity of care, utility, quality improvement, and translational research. Analogous limitations to sharing objective data in (...) other areas of the natural sciences have been successfully overcome by developing and using common ontologies. This White Paper presents the authors’ rationale for the use of ontologies with computable semantics for the improvement of clinical data quality and EHR usability formulated for researchers with a stake in clinical and translational science and who are advocates for the use of information technology in medicine but at the same time are concerned by current major shortfalls. This White Paper outlines pitfalls, opportunities, and solutions and recommends increased investment in research and development of ontologies with computable semantics for a new generation of EHRs. (shrink)

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an (...) “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Inspired by the early Wittgenstein’s concept of nonsense (meaning that which lies beyond the limits of language), we define two different, yet complementary, types of nonsense: formal nonsense and pragmatic nonsense. The simpler notion of formal nonsense is initially defined within Tarski’s semantic theory of truth; the notion of pragmatic nonsense, by its turn, is formulated within the context of the theory of pragmatic truth, also known as quasi-truth, as formalized by da Costa and his collaborators. While an expression will (...) be considered formally nonsensical if the formal criteria required for the assignment of any truth-value (whether true, false, pragmatically true, or pragmatically false) to such sentence are not met, a (well-formed) formula will be considered pragmatically nonsensical if the pragmatic criteria (inscribed within the context of scientific practice) required for the assignment of any truth-value to such sentence are not met. Thus, in the context of the theory of pragmatic truth, any (well-formed) formula of a formal language interpreted on a simple pragmatic structure will be considered pragmatically nonsensical if the set of primary sentences of such structure is not well-built, that is, if it does not include the relevant observational data and/or theoretical results, or if it does include sentences that are inconsistent with such data. (shrink)

Faithful persons tend to relate to their religious beliefs as truth claims, particularly inasmuch as their beliefs have soteriological implications for those of different religions. For Christians the particular claims which matter most in this regard are those made by Jesus of Nazareth and his claims are primarily relational in nature. I propose a model in which we understand divine grace from Jesus as being mediated through relational knowledge of him on a compassionately exclusivist basis, including post-mortem. Supporting this model, (...) I draw from Eleonore Stump’s hypothesis in her 2018 Atonement that the crucifixion of Jesus opens the divine psyche to all human psyches sufficiently for salvific mutual indwelling to occur, and from Gavin D’Costa’s conception of the descensus Christi ad inferos as the mechanism for grace’s accessibility post-mortem presented in his 2009 Christianity and World Religions. This model seeks to address ongoing, justified pastoral concern for the soteriological status of non-Christians while still treating Christianity as objectively true. (shrink)

In this paper, I argue that the indirect realists’ recourse to mental representations does not allow them to account for the possibility of hallucination, nor for the presentational character of visual experience. To account for the presentational character, I suggest a kind of intentionalism that is based on the interdependency between the perceived object and the embodied perceiver. This approach provides a positive account to the effect that genuine perception and hallucination are different kinds of states. Finally, I offer a (...) tentative suggestion as to how a hallucinatory experience may still be mistaken for a genuine perceptual experience. (shrink)

In this new edition, a hypothesis is put forward for the first time to unify the Big Bang theory and the evolutionary theory by showing both events following the same set of fundamental interrelationships. As the evolution of life is a part of the evolutions of the universe, these two events express many fundamental similarities (this is self-similarity, which means a part of the system is similar to the whole system). Based on the same principle, the evolution of multicellular organisms, (...) social evolution, development of the human body, and human technological development are all a part of the evolution of life. Thus, they all follow the same set of rules that all life follows and, at the fundamental level, the interrelationships that the Big Bang follows. Therefore, all of these events follow the fundamental interrelationships and express fundamental similarities. In other words, all these events are the specific expressions of those fundamental interrelationships – the fundamental mechanism that governs everything in the universe. -/- Upon these interrelationships, new approaches to study social development and technological development are employed. By using the knowledge of the medical sciences, including the structures (anatomy and histology), functions (physiology) and development (embryology) of a human body; knowledge of the evolution of life; and the concept of fundamental interrelationships, we can see the future beyond the horizon. Using the nerve system in parallel as a model, we can comprehensively understand the development of the information revolution. Based upon parallel interrelationships, we can see that the transformation of society due to individuals’ power increase brought by new technologies bears great similarities with the transformation from the solid state of ice to the liquid state of water due the individual molecules’ kinetic energy increase. -/- As the fundamental interrelationships govern social evolution, all events in human civilisation are simply specific expressions of those rules in which significant social events not only changed the course of civilisation but left so many unanswered mysteries: how did the Greeks build such brilliant civilisations; why did the Scientific Revolution originate from the West rather than the East such as in China; why did the Chinese society remain in feudalism for such a long time while the Western society had evolved into a higher level – industrialization and modern society; why did the Chinese civilisation fall from its ancient glory in the modern time but rapidly re-rise again to a super power in the last few decades? All these mysteries remain unanswered because of the lack of fundamental laws of physics and evolutionary biology used in the traditional methodologies of social science. As the fundamental laws of physics are the fundamental mechanism for everything and these mysteries are a part of the evolution of life, the fundamental laws of physics and evolutionary biology are used in tackling these unanswered issues. For example, upon parallel relationship, Chinese civilisation is compared with the transition from unicellular organisms to multicellular organisms. From how unicellular organisms aggregate and evolve new rules to organise themselves, we can much better understand how human individuals aggregate to form societies and evolve new cultures to organise themselves in social evolution. Furthermore, transformation from the solid state of ice to the liquid state of water is used to analyze Chinese social evolution. With these approaches the mysteries in Chinese civilisation have been answered. -/- Ultimately, all these discussions in this book have demonstrated that the Interrelationships Model has unified social science with natural science, and furthermore, science with philosophy. This is an important attempt in answering the most fundamental and intriguing question of all – the Theory of Everything. -/- Currently, this book is for FREE download. (shrink)

How to be being to be being/ next to the united and firm/ and trembling/ mouth of the poem?”, “How to say what is clearer than clarity [...]?” or “How to unite a light design and an obscure gesture?” These questions, as well as many others that emerge from the poetic and essay writing of António Ramos Rosa (1924-2013), represent different modulations of the same angular question: that of the relation between poem and reality, or, more radically, between poem and (...) being. And if such a question spreads into so many formulations it is because, in António Ramos Rosa, its scope is total, simultaneously aesthetic and ontological, metaphysical and spiritual. It is, therefore, this question that we will try to answer by looking into one of its possible faces: how can poetic creation be at the same time the most intimate gesture and the one that touches most deeply the undomesticated matter of the real, that absolute and unapprehensible Other? (shrink)

A partir de la tesis del filósofo español Miguel de Unamuno (1864-1936), según la cual el extremo occidental — Portugal — y el extremo oriental — India — se dieron las manos espirituales por vía de la comprensión de la vanidad del mundo (vanitas), presentada en su obra Por tierras de Portugal y España (1911), nos proponemos poner en diálogo las visiones del mundo barroco occidental y del mundo budista oriental sobre la vanidad y la muerte. En este sentido, nuestra (...) reflexión se centrará en el pensamiento del P. António Vieira, como ejemplo capital del pensamiento barroco portugués, y en el Sermón de Benares, como texto fundador del budismo. (shrink)

В «Godel's Way» три видных ученых обсуждают такие вопросы, как неплатежеспособность, неполнота, случайность, вычислительность и последовательность. Я подхожу к этим вопросам с точки зрения Витгенштейна, что есть две основные проблемы, которые имеют совершенно разные решения. Есть научные или эмпирические вопросы, которые являются факты о мире, которые должны быть исследованы наблюдений и философские вопросы о том, как язык может быть использован внятно (которые включают в себя определенные вопросы в математике и логике), которые должны быть решены, глядят, как мы на самом деле (...) использовать слова в конкретных контекстах. Когда мы получаем ясно о том, какой языковой игре мы играем, эти темы рассматриваются как обычные научные и математические вопросы, как и любые другие. Идеи Витгенштейна редко были равны и никогда не превосходили и столь же уместно сегодня, как они были 80 лет назад, когда он диктовал Blue и Браун Книги. Несмотря на свои недостатки, на самом деле серия заметок, а не готовой книги, это уникальный источник работы этих трех известных ученых, которые работают на кровотечения края физики, математики и философии на протяжении более полувека. Da Costa и Doria процитированы Wolpert (см. ниже или мои статьи на Wolpert и моем просмотрении Yanofsky 'Внешние пределы разума') в виду того что они написали на всеобщихвычислениях,, и среди его много выполнений, Da Costa пионер в paraconsistency. Те, кто желает всеобъемлющего до современных рамок для человеческого поведения из современных двух systEms зрения могут проконсультироваться с моей книгой"Логическая структура философии, психологии, Минd иязык в Людвиг Витгенштейн и Джон Сирл" второй ред (2019). Те, кто заинтересован в более моих сочинений могут увидеть "Говоря обезьян - Философия, психология, наука, религия и политика на обреченной планете - Статьи и обзоры 2006-2019 3-й ed (2019) и suicidal утопических заблуждений в 21-мst веке 4-й ed (2019) th и другие. (shrink)

Dans 'Godel’s Way', trois éminents scientifiques discutent de questions telles que l’indécidabilité, l’incomplétude, le hasard, la calculabilité et la paraconsistence. J’aborde ces questions du point de vue de Wittgensteinian selon lesquelles il y a deux questions fondamentales qui ont des solutions complètement différentes. Il y a les questions scientifiques ou empiriques, qui sont des faits sur le monde qui doivent être étudiés de manière observationnelle et philosophique quant à la façon dont le langage peut être utilisé intelligiblement (qui incluent certaines (...) questions en mathématiques et en logique), qui doivent être décidés en regardant un comment nous utilisons réellement des mots dans des contextes particuliers. Lorsque nous obtenons clair sur le jeu de langue que nous jouons, ces sujets sont considérés comme des questions scientifiques et mathématiques ordinaires comme les autres. Les idées de Wittgenstein ont rarement été égalées et jamais dépassées et sont aussi pertinentes aujourd’hui qu’elles l’étaient il y a 80 ans lorsqu’il a dicté les Livres Bleus et Brown. Malgré ses défauts, vraiment une série de notes plutôt qu’un livre fini, c’est une source unique du travail de ces trois savants célèbres qui travaillent aux confins de la physique, des mathématiques et de la philosophie depuis plus d’un demi-siècle. Da Costa et Doria sont cités par Wolpert (voir ci-dessous ou mes articles sur Wolpert et mon examen de Yanofsky 'The Outer Limits of Reason') depuis qu’ils ont écrit sur le calcul universel, et parmi ses nombreuses réalisations, Da Costa est un pionnier dans la paraconsistence. -/- Ceux qui souhaitent un cadre complet à jour pour le comportement humain de la vue moderne de deux système peuvent consulter mon livre 'The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle' 2nd ed (2019). Ceux qui s’intéressent à plus de mes écrits peuvent voir «Talking Monkeys --Philosophie, Psychologie, Science, Religion et Politique sur une planète condamnée --Articles et revues 2006-2019 » 3e ed (2019) et Suicidal Utopian Delusions in the 21st Century 4th ed (2019) et autres. (shrink)

A summary of issues related to symbolic capital, authorial presences, and intellectual property rights, and the necessity of finding a way out of 500-600 years of capitalist exploitation of the knowledge commons.

Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established (...) following publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

Relativity theory is often said to support something called ‘the four-dimensional view of reality’. But there are at least three different views that sometimes go by this name. One is ‘spacetime unitism’, according to which there is a spacetime manifold, and if there are such things as points of space or instants of time, these are just spacetime regions of different sorts: thus space and time are not separate manifolds. A second is the B-theory of time, according to which the (...) past, present, and future are all equally real and there is nothing metaphysically special about the present. A third is perdurantism, according to which persisting material objects are made up of different temporal parts located at different times. We sketch routes from relativity to unitism and to the B-theory. We then discuss some routes to perdurantism, via the B-theory and via unitism. (shrink)

The Fundamental Interrelationships Model, abbreviated as the Interrelationships Model (IRM) is a conceptual framework presented in the form of a diagram. This model aims to cohesively represent and unify a set of fundamental interrelationships found in nature which can be interpreted as the fundamental laws of physics. -/- These fundamental interrelationships encompass a wide range of relationships, including serial-parallel relationships, transition of state, critical point, continuation-discontinuation, convergence-divergence, contraction-expansion, singularity-plurality, commonality-difference, similarity, symmetry-asymmetry, dynamics-stability, order-disorder, limitation-without limitation, hierarchical structure, and cohesiveness. -/- (...) Building upon these fundamental interrelationships, the model is further developed to represent key laws of physics, such as Newton’s three laws of motion, four laws of thermodynamics, Noether’s theorem, Einstein’s space-time relationship, Heisenberg’s uncertainty principle, chaos theory, wave function collapse, and other phenomena in physics including atomic electron transition. -/- Crucially, the Interrelationships Model asserts that these well-established laws of physics are specific expressions of the fundamental interrelationships it represents. Notably, unlike the current theories for a Theory of Everything (ToE) that predominantly focus on lifeless phenomena, the Interrelationships Model can directly represent living entities. Subsequent research suggests that this model has the potential to unify the Big Bang theory with evolutionary theory, marking a significant stride toward addressing the longstanding challenge of a comprehensive Theory of Everything. -/- The presentation of this hypothesis serves as an invitation for further discussion and critique, proposing an alternative perspective to address the overarching issue of a Theory of Everything. (shrink)

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Brief essay on Giorgio Agamben's concept of "bare life" from Homo Sacer: Sovereign Power and Bare Life (1998), with reference to The Time that Remains: A Commentary on the Letter to the Romans (2005).

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.

'Godel's Way'에서 세 명의 저명한 과학자들은 부정성, 불완전성, 임의성, 계산성 및 파라불일치와 같은 문제에 대해 논의합니다. 나는 완전히 다른 해결책을 가지고 두 가지 기본 문제가 있다는 비트 겐슈타인의 관점에서 이러한 문제에 접근. 과학적 또는 경험적 문제가 있다, 관찰 하 고 철학적 문제 언어를 어떻게 이해할 수 있는 (수학 및 논리에 특정 질문을 포함) 에 대 한 조사 해야 하는 세계에 대 한 사실,우리가 실제로 특정 컨텍스트에서 단어를 사용 하는 방법을 보고 하 여 결정 될 필요가. 우리가 어떤 언어 게임을 하고 (...) 있는지 명확히 알 면, 이 주제는 다른 언어와 마찬가지로 평범한 과학적이고 수학적 질문으로 보입니다. 비트겐슈타인의 통찰력은 거의 동등하지 않았고 결코 능가하지 않았으며, 그가 블루와 브라운 북을 지시했을 때 80 년 전과 마찬가지로 오늘날과 관련이 있습니다. 완성된 책이 아닌 일련의 노트가 실패했음에도 불구하고, 이것은 반세기 이상 물리학, 수학, 철학의 출혈 가장자리에서 일해온 이 세 명의 유명한 학자들의 작품의 독특한 원천입니다. 다 코스타와 도리아는 울퍼트에 의해 인용된다 (그들은 보편적 인 계산에 쓴 이후 울퍼트와 야노프스키의 '이성의 외부 한계'에 대한 내 리뷰에, 대한 내 리뷰) 그리고 그의 많은 업적 중, 다 코스타는 파라 불일치의 선구자입니다. 현대 의 두 systems보기에서인간의 행동에 대한 포괄적 인 최신 프레임 워크를 원하는 사람들은 내 책을 참조 할 수 있습니다'철학의 논리적 구조, 심리학, 민d와 루드비히 비트겐슈타인과 존 Searle의언어' 2nd ed (2019). 내 글의 더 많은 관심있는 사람들은 '이야기 원숭이를 볼 수 있습니다-철학, 심리학, 과학, 종교와 운명 행성에 정치 - 기사 및 리뷰 2006-2019 3 rd 에드 (2019) 및 21st 세기 4번째 에드 (2019) 및 기타에서 자살 유토피아 망상. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

This essay addresses arguments regarding the “place” or “non-place” in which ideas originate and whether they are wholly transcendental, wholly contingent, or a combination of transcendental and contingent. Far from a resuscitation or recitation of Medieval scholastic disputations, the essay seeks to situate these untimely concerns in the context of spent discursive and ideological systems that support capitalist exploitation of the knowledge commons, exploitation only made possible because of a decisive and historically determined reduction of knowledge to fully contingent status (...) as spectral commodity. (shrink)

Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...) celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

Photo-essay on six cities: New York, Melbourne, Hong Kong, London, Paris, and Ljubljana.

The article presents an analysis centered on the emotional lapses of artificial intelligence (AI) and the influence of these lapses on two critical aspects. Firstly, the article explores the ontological impact of emotional lapses, elucidating how they hinder AI’s capacity to develop a moral sense. The absence of a moral emotion, such as sympathy, creates a barrier for machines to grasp and ethically respond to specific situations. This raises fundamental questions about machines’ ability to act as moral agents in the (...) same manner as human beings. Additionally, the article sheds light on the practical implications within human-machine relations and their effect on human friendships. The lack of friendliness or its equivalent in interactions with machines directly impacts the quality and depth of human relations. This concerningly suggests the potential replacement or compromise of genuine interpersonal connections due to limitations in human-machine interactions. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Essays from the political website CounterPunch. - Requiem: Dies Non, Not Dies Irae (September 18, 2001) - Mouth Wide Shut (April 8, 2002) - So Long Frank O. Gehry? (April 28, 2002) - Bête Noire (May 22, 2002) - “All politics is local?”: The Unbearable Lightness of NGOs (May 24, 2002) - Bush and Mies van der Rohe: Architecture and Ideology (June 1, 2002) - The Adventures of Mademoiselle M.: Or Getting Screwed in Paris (June 8-9, 2002) - Loose Lips: (...) Liberty, Democracy and Bush (July 6, 2002) - Go Tell Karl Rove!: The Anti-Republican Party (July 13, 2002) - Be Still My Beating Heart (July 15, 2002) - Grave New Urbanism: The World Trade Center Burlesque (July 20, 2002) - Roamin’ in the Gloamin’: Van Morrison: In September (July 25, 2002) - Sublime Žižek: Guarding Lenin’s Tomb (July 27, 2002) - Vox Populi: Everyone’s a Critic (August 3, 2002) - Auteur-Driven Vehicles: The New New Laocoon (August 19, 2002) - Beaux Rêves, Citoyens!!! (September 5, 2002) - Immortality: The Quest for Fire (August 31, 2002) Parting Shots: A Refracted History (Summary) Of The Twentieth Century (November 2, 2002) - New Books Christmas 2002: Livres Deluxe (December 23, 2002) - The Drunken Flower (July 26, 2003) - The Infernal Machine: “Architectures” in Service to Nothing (August 23, 2003). (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

Sublime Žižek: Guarding Lenin’s Tomb (July 2002) - Žižek & Badiou: The Neo-Marxist Magicians (November 2003) - The Ruins of Thought: Five Scenarios Toward a Short Film (November 2005) - Slavoj Žižek at Jack Tilton Gallery, New York, New York, April 2009 (April 2009) - Questions for Žižek (April 2009).

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...) renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...) in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

Press Release for Works for Works, Book 1: Useless Beauty (Punctum Books, 2022).

On pense généralement que l'impossibilité, l'incomplétdulité, la paracohérence, l'indécidabilité, le hasard, la calcul, le paradoxe, l'incertitude et les limites de la raison sont des questions scientifiques physiques ou mathématiques disparates ayant peu ou rien dans terrain d'entente. Je suggère qu'ils sont en grande partie des problèmes philosophiques standard (c.-à-d., jeux de langue) qui ont été la plupart du temps résolus par Wittgenstein plus de 80 ans. Je fournis un bref résumé de quelques-unes des principales conclusions de deux des plus éminents (...) étudiants du comportement des temps modernes, Ludwig Wittgenstein et John Searle, sur la structure logique de l'intentionnalité (esprit, langue, comportement), en prenant comme point de départ La découverte fondamentale de Wittgenstein, à savoir que tous les problèmes véritablement « philosophiques » sont les mêmes, les confusions sur la façon d'utiliser la langue dans un contexte particulier, et donc toutes les solutions sont les mêmes— en regardant comment la langue peut être utilisée dans le contexte en cause afin que sa vérité (Conditions de satisfaction ou COS) sont claires. Le problème fondamental est que l'on peut dire n'importe quoi, mais on ne peut pas signifier (état clair COS pour) toute déclaration arbitraire et le sens n'est possible que dans un contexte très spécifique. Je dissé que quelques écrits de quelques-uns des principaux commentateurs sur ces questions d'un point de vue wittgensteinien dans le cadre de la perspective moderne des deux systèmes de pensée (popularisé comme «penser vite, penser lentement»), en utilisant une nouvelle table de intentionnalité et la nomenclature de nouveaux systèmes doubles. Je montre qu'il s'agit d'un puissant heuristique pour décrire la vraie nature de ces questions scientifiques, physiques ou mathématiques putatives qui sont vraiment mieux abordés comme des problèmes philosophiques standard de la façon dont la langue doit être utilisée (jeux de langue dans Wittgenstein terminologie). (shrink)

Darwin’s evolution theory revolutionises our understanding of the biological world. In parallel, this book is a critical breakthrough in scientific philosophy. It revolutionises our understanding of nature, particularly on civilisation, through discovering a fundamental mechanism which not only governs lifeless objects but intelligence-driven civilisation as well. This discovery provides an alternative to challenge the most fundamental issue – “the Theory of Everything”. As this mechanism is the most fundamental level, it is the foundation of similarity, including the amazing similarities between (...) a human body and a society. Upon this theoretical basis, following the rules of this mechanism and using a human body as a model, civilisation is systematically investigated. As such, technological development and its consequential social development are understood from the most fundamental level. As a result, the human future have been successfully predicted and many historical puzzles have been unequivocally solved, such as: why could the ancient Greeks create a brilliant civilisation; why were there so many great thinkers; why did Scientific Revolution and the model of university education originate from Europe rather than from other places; why did the Chinese civilisation remain stagnant when the West was rapidly rising after Scientific Revolution. Finally, one of the long-lasting enigmatic question, “what is beauty”, is unequivocally answered once and for all. It is the expression of one of the fundamental laws of physics but it is not symmetry. (shrink)

Pylyshyn restricts cognitively penetrable vision to late vision, whereas he does not make any distinction between different kinds of penetrating cognition. I argue that this approach disconnects early vision content from late vision content and blurs the distinction between the latter and the content of thought. To overcome this problem I suggest that we should not distinguish between different kinds of visual content but instead introduce a restriction on the kind of cognition that can directly penetrate visual experience. In particular, (...) I suggest that visual experience, unlike thought, is directly penetrated only by practical non-propositional knowledge. I specify this weak cognitive penetrability in anti-representational terms. In particular, I suggest that the dependence of visual content on practical non-propositional knowledge should be conceived as a rational non-inferential relation, for it is in this way that we can account for the distinctive content of visual experience. (shrink)

According to McDowell’s transcendental empiricism, the world view depends on experience, which in turn depends on the world view. This seems to be in accord with the thesis that experience is theory-laden, but it also seems to introduce a problem of vicious circularity. I argue that McDowell’s account has the resources to avoid the problem of vicious circularity by exploiting the idea of a wider circle that involves more relata and more kinds of rational dependence. But the acceptance of this (...) idea entails that experience, though concept-laden, is not theory-laden. (shrink)