Starting from the sensuous perception of what is seen, an attempt is made at re-casting a Husserlian theory of constitution of the object of intuition, as one leaves the natural attitude through a transcendental method, by positing several theses so as to avoid the aporias of philosophical binary oppositions such as rationalism and empiri-cism, realism and idealism, logicism and psychologism, subjectivism and objectivism, transcendentalism and ontologism, metaphysics and positivism. Throughout fifty-five theses on constitution, the Husserlian proposal of continuously reforming philosophizing (...) by transcendental reduction is revisited, leaving the latter incomplete as new conversions are required by noetic-noematic correlations between world and consciousness. (shrink)

Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The phenomenal (...) brain : Merleau-Ponty, Rasmussen, and Pallasmaa -- Neuroscience and architecture -- Anatomy : architecture of the brain -- Ambiguity : architecture of vision -- Metaphor : architecture of embodiment -- Hapticity : architecture of the senses -- Epilogue: The architect's brain. (shrink)

Hume's Treatise of Human Nature was published in the form of three separate books. The first two, "Of the Understanding" and "Of the Pas- sions," were published in London in January 1739 by John Noon. The third, "Of Morals," was published independently in London by Thomas Longman in November 1740.2 The title and subtitles on all three books are the same: A Treatise of Human Nature: Being An Attempt to introduce the experimental Method of Reasoning into Moral Subjects. On the (...) title page of the first two books Hume employs an epigram from Tacitus: Rara temporumfelicitas, ubi sentire, quae velis; & quae sentias, dicere licet. ["Seldom are men blessed with times in which they may think what they like and say what they think."] On the title page of the third book this epigram is replaced by an epigram taken from the ninth book of Lucan's Pharsalia: Durae semper virtutis amator, Quaere quid est virtus, et posce exemplar honesti. ["Thou that to virtue ever wer't inclined, learn what it is, how certainly defin'd, and leave some perfect Rule to guide Mankind."] Given the context and the prominence of these epigrams, it is a curious fact that they have attracted little or no attention or comment from Hume scholars. -/- In this paper I argue that Hume's use of the epigram from Lucan is directly relevant to his use of the epigram from Tacitus. The epigrams flag very clearly the anti-Christian nature of Hume's intentions in the Treatise and his affiliations with and allegiance to an anti-Christian tradition of thought that stretches from Hobbes and Spinoza in the late seventeenth century to a circle of anti-Newtonian radical freethinkers that appeared in Britain in the first part of the eighteenth century. In more general terms these epigrams are a notable and illuminating example of esoteric communication in this context, and they indicate that the Treatise has an important place in the literature of the radical enlightenment. (shrink)

This essay follows the fascinating mythology of grace and gift exchange to construct an argument about appearances as transcending the boundaries of things through a form of radiance or shining. The latter is based on the primary figure of the Graces, Aglaea, whose name literally signifies shining. The question arises how the obligatory rules of gift exchange—giving, receiving, and returning—apply to appearances, which leads to a cyclical “alternating current” of shining and working. It now becomes clear why the ancient Greeks (...) married the ethereal figure of Aglaea to the sweaty, clubfooted smithgod Hephaestus: shining things are necessarily linked to the making of shining things. In the magic realm of Hephaestus shining and automation are fully merged: automata are without exception made of gold or silver, while the abundantly embellished objects he creates always evoke movement. At this point in the essay the term “phenotechnology” is coined: the work of making things lies in their overworking (hypergon) which is sharply contrasted to the classic notion of ornament as parergon, as by-work, or in the words of Aby Warburg, as bewegtes Beiwerk. Instead of viewing movement as added-on (Alberti) to structure we find that the figural movement of pliant motifs in fact creates structure, a structure that according to Gottfried Semper undergoes “the mystery of transfiguration,” which reverses the relationship between surface and space: space is the very depth of radiating surfaces. (shrink)

A shortened version of the second chapter of The Sympathy of Things as it was published in The Politics of the Impure (V2_NAI Publishers, 2010). It relates John Ruskin’s “Wall-Veil” to the better-known “Wall-Dress” (Gewand) of Gottfried Semper by understanding both as occurring at the intersection of matter and force. Matter tends to generate patterns in two ways, either downward or upward in dimensions. The first relates to tessellated ornament (cf. Owen Jones); the second to the ribboned ornamentation as we (...) find it in Morris’s work. (shrink)