From Augustine’s (death) drive towards an imaginary time before speech to Marx’s drive toward an imaginary time after speech as we know it, we learn that we are always already within the bonds of the mother tongue. In the late twentieth-century, Derrida turns to both Augustine and Marx to repeat the fantasy of escaping the mother (tongue). Derrida responds to Marx’s analysis of our repeated failure to forget the mother tongue by turning to Augustine’s analysis of the (...) mother’s touch: we cannot forget the mother tongue because it is licked upon our skin. Drawing on Derrida’s relationship to Augustine and Marx on the topic of touch and language, I argue that although the bond of the mother tongue is inescapable, its very real grip upon our skin is founded upon a number of fantasies: the fantasy of the Mother, of a cut with the Mother by the Mother, which separates us from an original shared skin and binds us to the Mother tongue, the fantasy of self-articulation in the death of the Mother. I suggest that the symptoms of the fantasmatic foundation of our entrapment by the mother tongue-touch is expressed in barely perceptible glitches—a shiver passing over one’s skin, a stutter in one’s speech. (shrink)

In the Confessions, Augustine speculates that before we are aware of language, we learn our mother tongue through our mother's touch. These early lessons in language are first taught through a gentle touch: the nipple of the mother in the mouth of the infant. Language is later reinforced by a violent touch: the schoolmaster's switch. Augustine suggests that any memory of a time before the touch of language is purely imaginary. Nevertheless, his autobiography attempts to return to a (...) time before the touch of the mother, which, for Augustine, is at once the touch of the mother tongue.1 Since our relationship to our own infancy is imaginary, our infancy neither properly belongs to our memory nor can it be properly... (shrink)

This article argues that we can construct a complex interpretation of the nature of time by linking Aciman’s gnostic thread to aspects of twentieth century theory, from philosophy and psychoanalysis. In brief, it attempts to demonstrate the roles of dislocation, deferral, and Otherness in constituting human temporality. The essay begins by surmising the conceptual history of time, touching on key ideas put forward by Augustine and Bergson. The second section takes a psychoanalytic turn after exploring Homo Irrealis to describe (...) the significance of desire and fantasy. Thirdly, we develop a unique and temporal application of difference and deferral, building off of Deleuze and Derrida. The fourth section will consider how the psychoanalytic concept of the Other is inhered within time. We conclude that an Acimanic analysis of time is the means by which we can understand existence not as a series of moments, but a rich progression of dissimilitude and Otherness defined moreso by its lack of cohesion and directness of being than by a unified and self-identifying subject. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mother-Daughter Relations and the Maternal in Irigaray and ChodorowAlison StoneGod the Father and Jesus the Son; Abraham and Isaac; Uranus, Cronus, and Zeus; Zeus and Dionysus; Hamlet and his father; Fyodor Karamazov and his three sons—representations of and fantasies about father-son relationships are central to Western culture and philosophy. Within philosophy, one thinks of Hegel’s conception of the dialectic in terms of the divine trinity, Nietzsche’s preoccupation with Christ (...) and Dionysus, or Kierkegaard’s meditations on Abraham’s near-murder of Isaac. In contrast, mother-daughter relationships have been shrouded in near-universal silence—much more so than representations of either mothers and sons (Oedipus and Jocasta; Mary and Jesus) or fathers and daughters (Agamemnon and Iphigenia; Lear and Cordelia). Female and feminist theorists, writers, and artists have done much to bring mother-daughter relationships into representation and to reimagine the maternal beyond its traditional subservience to father-son dynasties.Amongst continental feminists, Luce Irigaray and Julia Kristeva have, of course, made major contributions to this task. Within Anglophone feminism, too, feminist psychoanalytic thinkers have sought to rectify Freud’s overemphasis on the paternal and on father-son relations. Nancy Chodorow’s important work in this area paints a portrait of contemporary mother-daughter relations which seems, at first sight, strikingly similar to Irigaray’s. Both thinkers suggest that mothers and their infant daughters experience a unique level of mutual identification. But under patriarchy—specifically, given exclusively female childrearing for Chodorow and given the absence of any symbolization of female subjectivity for Irigaray—daughters are forced to turn to the father [End Page 45] to achieve any psychical independence from their mothers. The independence that daughters thus attain coexists with ongoing psychical identification with their mothers, so that women oscillate endlessly between separation from and mergence with their mothers. If the dominant template for father-son relations involves violent rivalry followed by guilt-ridden father-worship as the cement of fraternal society, as Freud described in Totem and Taboo (Freud 2001), the template for mother-daughter relations involves hostile separation constantly undone by ongoing fusion. This difference in templates maps the social-symbolic difference between the paternal position of power/authority/law and the maternal position of powerlessness/silence/body.However, the manifest similarities between Irigaray’s and Chodorow’s pictures are embedded in deep theoretical differences. The details of their descriptions of mother-daughter relations differ, and they give different explanations for why these relations follow a logic of separation and fusion: female mothering for Chodorow, the paternal symbolic order for Irigaray. They make different proposals for how to change these relations: shared parenting for Chodorow versus symbolic transformation for Irigaray. They hold conflicting conceptions of the self and of language, reflecting their heterogeneous psychoanalytic backgrounds in Anglo-American object relations versus French Lacanianism and poststructuralism. These deep differences raise questions about whether Chodorow and Irigaray are discussing mother-daughter relations in the same sense at all.Bringing Irigaray and Chodorow together across their different intellectual contexts, this article compares and partially synthesizes their visions of the maternal and of mother-daughter relations. By integrating their perspectives, we can move beyond the “impasse” between Lacanian and object-relations feminisms that dominated psychoanalytic feminist debates in the 1980s and 1990s (Brennan 1991)—debates that have crucially shaped continental feminists’ orientation towards questions of sexual difference, language and representation, and the embodied psyche.The impasse in question has at least two strands. First, for object-relations feminists such as Chodorow, our pre-Oedipal relations with our mothers shape us so that we acquire “core” selves with a fairly stable gender. This approach elevates the mother in importance (compared to classical psychoanalysis with its emphasis on the father), but it loses sight of psychic and gender instability. This can make Chodorow’s views seem rather dated given the impact of Judith Butler’s work and her emphasis on the unstable, shifting nature of gender. Lacanian feminists such as Jacquelyn Rose (Rose 1986) reemphasize psychic instability, but they do so by stressing that the subject is split between paternal language and the pre-Oedipal maternal realm, which means that these theorists also... (shrink)

Este ensayo presenta una descripción de los escritos inéditos de Jacques Derrida sobre Marx y Louis Althusser en la década de 1970, y un estudio de conceptos como ideología, diferencia sexual, reproducción, violencia, dominación o hegemonía en perspectiva deconstructiva. Se trata de pensar en una otra economía, más allá de la economía del cuerpo propio. El artículo fue publicado en el Volumen 7 de la Revista Demarcaciones, "a 25 años de Espectros de Marx.".

This paper is concerned with the background to Lacan’s Seminar I, chapter xx on Augustine’s De magistro, its manuscript sources, editions and structure. The discussion of Augustine’s treatise was suggested to Lacan by Louis Beirnaert but he seems not to have known the text. We argue that there are reasons to think the suggestion came from his Jesuit confrere Paul Henry, the learned co-editor of the Enneads, who was helping to organise an international congress in Paris that year (...) on Augustine. Although the history of the discussion of ‘signs’ goes back to Aristotle, the only attempt to bring signification into a theory of language, prior to Augustine, is found in a passage in Plotinus which Henry had discussed some years earlier. The Latin text of De magistro they used was, unfortunately, badly corrupted and this contributed to a mistaken understanding of its structure. Nevertheless, Lacan found some important parallels between Augustine’s view on teaching and the complexity of understanding and his own teaching and psychoanalysis. (shrink)

Karl Marx’s 1852 work The Eighteenth Brumaire of Louis Bonaparte opens with the famous remark that men “make their own history, but they do not make it just as they please.” He goes on to argue that whatever happens in the present time arises from and is a reaction to a political past. Recollecting and interpreting the past for present purposes requires a language. Such a language is not naturally given but needs to be socially constructed. What is more, its (...) vocabulary and grammar stem from linguistic legacies of past ideologies. Marx draws in this regard an analogy, comparing acquisition of a political language with mastering a natural language: “a beginner who has learnt a new language always translates it back into his mother tongue, but he has assimilated the spirit of the new language and can freely express himself in it only when he finds his way in it without recalling the old and forgets his native tongue in the use of the new.”. (shrink)

Language is often conceived of today as providing a person with a worldview and a set of communicative norms that one accepts unambiguously. However, in his 1992 lecture, “Monolingualism of the Other,” Jacques Derrida insists that his mother tongue is for him “not a natural element, not the transparency of the ether, but an absolute habitat.” In other words, while French is an intimate part of his existence, his relationship to it is nevertheless ambiguous. Derrida claims that his situation is (...) not exceptional though, since for no person is language simply a “natural element.” In this essay, I examine first the phenomenological basis for this controversial claim, drawing from Derrida’s lecture as well as earlier explorations by Martin Heidegger to elucidate the point. Later I turn to address the ethical-political dimensions of Derrida’s claim, explaining how it serves to protest against a problematic process of consolidating power. (shrink)

Leyendo algunos textos «marginales» de Jacques Derrida, especialmente en sus últimos trabajos, desde la perspectiva de las relaciones entre la experiencia biográfica y los intereses filosóficos, este ensayo trata, por un lado, de las reflexiones del filósofo acerca del cine como un desarrollo de la tradición contemporánea fundada muy particularmente por Walter Benjamin y Hugo von Hofmannsthal; y por otro, el artículo se centra en el «fantasma» o «espectro»: un concepto básico a la par que clásico tanto del cinematógrafo como (...) del psicoanálisis. De este modo, se quiere mostrar cómo el pensamiento derridiano introduce una variación radical y original en la estética moderna, incluyendo su primera o primitiva acepción: «percepción por los sentidos». -/- Based on the reading of some marginal texts of Jacques Derrida, especially his later works, from the perspective of the relation between biographical experience and philosophical interests, this essay deals, on one hand, with this philosopher´s reflections as to Cinema and its development as a contemporary tradition, as founded very particularly by Walter Benjamin and Hugo von Hofmannsthal. On the other hand, this papers concentrates on another basic and also classical concept of Cinema and psychoanalysis: the concept of phantom or spectre. In this way, the intention is to show how derridian thought introduces a radical and original variation in modern esthetics, including its first or primitive acceptation or perception by the senses. (shrink)

Unlike Derrida’s ‘there is no outside text, Lacan approaches the Real, that which lies beyond language, from two sides: the imaginary and the symbolic. In the first part of this work, by drawing upon the imaginary side of Lacanian Real, which is object petit a and by considering some literary and philosophical definitions of the pre-symbolic abyss, it is attempted to illustrate the non-representation artworks’ illustration of the pre-linguistic bodily urges and sensations. Next, by drawing upon symbolic side of the (...) Lacanian Real, which is sinthome, it will be shown how some artists create their own symbolic order and the New by approximating a point of idiomaticty just like what Lacan did with his mathemes. In the second part of the paper, Joe Weight’s Darkest Hour (2017) is analyzed to show how Winston Churchill first turns into an object petit a, and plugs the gap of the symbolic order by being elected as a prime minister; however, the impending fall of England by Nazi attacks strip Churchill of his self-confidence, then he resorts to people and by their hands, he rewrites himself anew turning himself into a sinthome and like Joyce and Lacan, who have created their own symbolic order, Churchill temporarily turns England into his own symbolic order to win the war. (shrink)

This collection in the area of continental philosophy of language, aesthetics, and semiotics includes articles and book selections from Derrida, Ricouer, McCumber, Oliver, Sheshradi-Krooks, Lacan, and Kristeva. This collection is available in the University of Guelph bookstore.

Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...) may yield unexpected, even uncontrollable results. -/- This paper, therefore, seeks to address this division within the modern subject and its relationship to technology, wherein the division within the living body is revealed through the presence of prosthetic elements, which mirrors the division brought about by the incorporation of language as a signifier. I argue that the amplification of this internal schism does not necessarily lead to a more fractured subject. Instead, generative art, bolstered by advancements in AI and machine learning, offers a unique opportunity for individuals to externalize and explore their minds in novel ways. -/- By examining contemporary works such as Hal Foster’s Prosthetic Gods, which stands as a pivotal exploration of the convergence between modernist art and psychoanalytic theory and Isabel Millar’s Psychoanalysis of Artificial Intelligence, this paper elucidates the profound implications of Freud’s vision of modern -/- subjectivity as Prothesengott (Prosthetic God) and address the questions concerning this technological imbrication of the human mind and body through the Lacanian framework. Although for Freud, Man does not become a real God, rather, the potential to transcend one’s limitations ascribes us to God-like qualities by seeking to generate new forms of life that go beyond merely reproducing nature — a transcention of the natural. Millar emphasizes that Freud observes that this is evidenced by the fact that these additional organs remain distinct from the organism and can never assimilate into it. One continually falls short of realizing the fantasy he envisions, opting instead to use his supplementary artificial organs to endlessly revolve around the objects of the drive. -/- This evolving relationship that the drive has with its technological objects, resounds in Lacan’s conception of “lathouse” which allows extimate objects to convert interiority (unconscious) into exteriority (conscious) and exteriority into interiority. The thesis of this paper seeks to employ this underutilized concept to understand the nature of human subjectivity and its bodily and structural relationship to generative art. Therefore, this paper emphasizes what really happens when we enter into this relationship with the lathouse, whereby this artificial object has effects in the "real of jouissance", where these Lathouses create a network, namely the Alethosphere. My goal is to argue that generative art as a technological development, can be seen as an extension to the development of the drive. Conclusively, I make the claim for generative art's potential to externalize the human creative drive by emphasizing the interplay between randomness and structure, and how it offers a means to surpass our inherent limitations by presenting an avenue for self-expression that transcends traditional modes of art. (shrink)

This paper examines Augustine’s views on language, learning, and testimony in De Magistro. It is often held that, in De Magistro, Augustine is especially concerned with explanatory understanding (a complex cognitive state characterized by its synoptic nature and awareness of explanatory relations) and that he thinks testimony is deficient in imparting explanatory understanding. I argue against this view and give a clear analysis of the different kinds of cognitive state Augustine is concerned with and a careful examination (...) of his arguments concerning the deficiencies of testimony in producing these cognitive states. (shrink)

This article aims to develop a Lacanian approach to bioethics. Point of departure is the fact that both psychoanalysis and bioethics are practices of language, combining diagnostics with therapy. Subsequently, I will point out how Lacanian linguistics may help us to elucidate the dynamics of both psychoanalytical and bioethical discourse, using the movie One flew over the Cuckoo’s Nest and Sophocles’ tragedy Antigone as key examples. Next, I will explain the ‘topology’ of the bioethical landscape with the help of Lacan’s (...) three dimensions: the imaginary, the symbolical and the real. This will culminate in an assessment of the dynamics of bioethical discourse with the help of Lacan’s theorem of the four discourses. Bioethics, I will argue, is not a homogeneous discourse. Rather, four modalities of bioethical discourse can be distinguished, all of them displaying specific weaknesses and strengths, opportunities and threats. This will be elucidated with the help of two case studies, namely the debates on human reproductive technologies and on the use of animals as biomedical research models. (shrink)

Cet essai présente une description de plusieurs travaux inédits de Jacques Derrida au sujet de Marx et d'Althusser datant des années 1960 et 1970. Au-delà du travail philologique, il s'agit aussi d'une étude théorique de notions telles que 'idéologie', 'fétichisme', 'reproduction', 'division du travail', 'différence sexuelle', 'domination', 'économie politique', 'matérialisme dialectique', ou 'production culturelle' — tout autant à travers les textes marxistes que dans les lectures déconstructives qu'en propose alors Derrida. Durant les années 1970, dans le cadre de son séminaire, (...) Derrida s'efforce de penser une autre économie politique, au-delà de l'économie du propre qu'il identifie aussi bien chez les économistes classiques que chez leurs critiques marxistes. Ces lectures détaillées et combattives de textes marxistes restent aujourd'hui inédites. Leur prise en compte contribue à redéfinir l'image de Derrida et de la déconstruction, en témoignant de ses discussions très avancées de Marx, d'Althusser, et de la pensée marxiste — et ce dès la fin des années 1960 et le début des années 1970, plus de 20 ans avant la publication de Spectres de Marx (1993). -/- Une version plus courte de cet article fut traduite en espagnol par Ramiro Parodi, et publiée en 2019 dans le numéro 7 de la revue Demarcaciones — numéro consacré au 25ème anniversaire de la publication de Spectres de Marx. (shrink)

This article takes up the idea of language as a home and dwelling, and reconsiders what this might mean in the context of diasporic bilingualism – where as a ‘heritage speaker’ of a minority language, the ‘mother tongue’ may be experienced as both deeply familiar yet also alien or alienating. Drawing on a range of philosophical and literary accounts (Cassin, Arendt, Anzaldúa, Vuong, among others), this article explores how the so-called ‘mother tongue’ is experienced by heritage speakers in an English-dominant (...) world. From navigating one’s being in-between language-worlds, to the experience of language loss and efforts of reconnection, I argue that bilingual dwelling involves many complex layers often overlooked by philosophical accounts of language that do not attend to the lived world of the migrant and racialised outsider. By turning to the example of bilingual parenting, I then examine how such an undertaking, while labour-intensive, offers opportunities to refresh and co-create language-worlds anew. (shrink)

The idea that Derrida kept silent on Marx before the publication of Spectres de Marx, in 1993, has become a commonplace in Derrida studies and in the history of Marxism and French 20th century political thought. This idea has often been accompanied by a certain representation of the relationship between deconstruction and dialectical materialism, and fed the legend of deconstruction’s «apoliticism» – at least before what some have called Derrida’s «ethicopolitical turn», usually dated in the early 1990s. Against this narrative, (...) this essay analyzes Derrida’s notorious «silence on Marx» before Specters of Marx from the perspective of the archives. Archival research transforms the narrative: Derrida’s «silence on Marx» was only «relative». Beyond the scene of publications, archives reveal another scene: multiple engagements with Marx and Marxist thought, marked and remarked in many archival documents – more particularly in a series of early seminar notes from the 1960s and 1970s. How does this archival scene transform our interpretation of Derrida’s «silence»? (shrink)

On a certain reading, the respective theories of Freud and Nietzsche might be described as exploring the suffered relational histories of the subject, who is driven by need; these histories might also be understood as histories of language. This suggests a view of language as a complicated mode of identifying-with, which obliges linguistic subjects to identify the non-identical, but also enables them to simultaneously identify with each other in the psychoanalytic sense. This ambivalent space of psychoanalytic identification would be conditioned (...) by relational histories. On one hand, this might lead to conformity within a system of language as a shared, obligatory compromise formation that would defend against the non-identical; magical language, typified in Freud’s critique of animism and in Nietzsche’s critique of “free will” guided by absolute normative signifiers (“Good” and “Evil”), would be symptomatic of this sort of defense. On the other hand, given other relational histories, it may produce the possibility for more transitional modes of identification, and thereby modes of language that can bear its suffered histories, and lead to proliferation of singular compromise formations. It is suggested that while the former is historically dominant, Nietzsche and various psychoanalytic thinkers contribute to conceiving of the possibility of working ourselves towards the latter. (shrink)

The struggle for domination clearly persists in The Homecoming as it does in almost all of Pinter’s works. Because of the vague atmosphere, enigmatic characters, and dark, tragicomic dialogue and action, a single decisive meaning for the play cannot be identified. Many character analyses have been carried out on the play, frequently focusing on Ruth and her decision at the end. Moreover, critics have sought to read the play in the light of psychoanalysis, centering on the characters’ past and complexes. (...) By adding a sociopolitical dimension to purely realistic or symbolic readings, this article attempts to analyze the relationships of domination and servitude between characters at the micro-level of the family structure through Marx’s notions of fetishism in relations between individuals, and commodity fetishism as expounded by Slavoj Žižek. With the help of Žižek’s ideas on ideology, a new layer of sociopolitical signification to the relationships held between characters is added, particularly that between Ruth and the men, which is seen as a parallel to the macro-level fetishized relationships in pre-capitalist societies and commodity fetishism in a capitalist one. (shrink)

Donald Davidson denies that there are incommensurable scientific languages: languages which cannot be translated into our contemporary language. What about Derrida? What is his perspective on this matter? This paper presents a broadly Derridean objection to Susan Carey’s argument for incommensurability.

The relationship between Marxism and psychoanalysis has been frequently debated; nonetheless, one rarely comes upon a thoroughgoing, in-depth treatment of this connection. The Capitalist Unconscious is therefore a belated but welcome inquiry into the points of intersection between the two, a project whose contours could be traced back to the works of Marx and Freud. It is in the work of Lacan, however, that this correlation between Marxism and Psychoanalysis becomes visible. This article explores Samo Tomšič’s analysis of the logical, (...) epistemological, and political continuity of Marx’s critique of political economy and Freud’s theory of libidinal economy, meanwhile appraising the possible emancipatory potential of this project. (shrink)

This paper revisits Giorgio Agamben’s text The Time That Remains and through a comparative analysis contrasts the author’s reading of St Paul’s Romans to relevant Derridean thematics prevalent in the text. Specific themes include language, the law, and the subject. I illustrate how Agamben attempts to revitalise the idea of philosophical anthropology by breaking away from the deconstructive approach. Agamben argues that language is an experience but is currently in a state of nihilism. Consequently, the subject has become lost; or, (...) more specifically, the subject and its object have not disappeared in language but through language. The resuscitation of experience is thus required to defeat this condition: only in language does the subject have its site and origin. Unlike deconstruction, which highlights an inherent paradox within a situation unearthing a questionable foundation, Agamben argues that, by investigating the “exception,” one finds neither a norm nor an inherent truth of the situation, but the confusion which surrounds them both. (shrink)

As with so many mystics, Alexis karpouzos intuitively know the oneness of cosmic creation and historic humanity as part of all that is and all there isn't. So, the originality of Alexis Karpouzos thought is that it crosses the most diverse fields, the most opposing philosophies, to unite them into an often contradictory and broken whole. Marx and Heidegger, Nietzsche, Freud and Heraclitus, poets and political theorists all come together in the same distance and the same unusual proximity. Alexis karpouzos (...) use Pre-Socratics philosophy and generally the ancient Greek philosophy, as well as the pre-philosophical thinking of The Upanishads, the Vedas and Buddhism in India, of Lao Tzu, of Zen Buddhism and the Taoist tradition in China, of the Arab mystics and poets, with their metaphysical religiosity as the metaphysical basis for the interpretation and understanding of the world and existence. At the same time the ancient metaphysics is connect with Hegel’s dialectical ontology and with the modern thinking of Marx, Nietzsche, Freud, Heidegger, and others as the interpretive context for understanding the central problems of the technical and scientific world during his time. Novalis, Hölderlin, Rimbaud, Whitman, Eliot and others show the dreamy nature of existence, the transcendence of the Cosmos, welcome the infinity. For Alexis karpouzos the combination of ancient and modern thought creates the holistic experience of universal space-time and the consciousness of the unity. The poetic thought of Alexis karpouzos is a expressions of soul's inner experiences, expression of universality. The inspiring visual images and the symbolic use of language offer a description of elevating experiences of consciousness, a glimpse of higher worlds. The philosophy of Alexis karpouzos speak to the human experience from a universal perspective, transcending all religions, cultural and national boundaries. Using vivid images and a direct language that speaks to the heart, his philosophy evokes a sense of deep communication with the collective unconscious, a sense of connection to all the creatures of the world, compassion for others, admiration for the beauty of nature, reverence for all life, and an abiding faith in the invisible touch of world. Alexis karpouzos thoughts are often terse and paradoxical, challenging us to to break out of the box of limiting beliefs and see things from a new perspective. Above all, Alexis karpouzos continually calls to us to wake up and explore the mysteries within our own selves, i.e the mysteries of universe. (shrink)

A Touch of Doubt traces the theme of touch in the evolution of skepticism through Platonism, German idealism, Continental philosophy and psychoanalysis. Haptic Scepticism, the field of ethics emerging from this study, explores the grasp-ability of contradiction. Contradiction is a haptic marvel. We can cup it in our palms, press it against our lips, dip our toes into its coolness, and, if we are not careful, we may even burn ourselves on its surface.

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)

ABSTRACT: A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)

Derrida’s thought on “trace,” “différance,” “writing,” and “supplement” is always thought the breaking of logocentrism, the essence, the positive meaning, and the closure of the metaphysics of presence; this thinking is accordingly regarded the thinking with the fundamental structure of difference and openness. By tracking back to Saussure, Husserl and Levinas, this fundamental difference breaks the myth of ideal meaning as well as the illusion of the absolute open; its lack of ideality and absoluteness contains the fundamental difference within itself (...) and thus has the structure of open. However, from a broader perspective, I will re-ask the question “Whether or not Derrida’s ‘trace,’ ‘différance,’ ‘writing,’ and ‘supplement’ have a structure of open.” When the web of differences encompasses everything even its own “exit,” this “open” thus conceals and denies other modes of thinking. With the impossibility of going out of this mode of thinking, the structure of différance is closed. (shrink)

In response to the sonic media and ludicrosity of her time, Hortense J. Spillers' paradigmatic essay ""All the Things You Could Be by Now, If Sigmund Freud's Wife Was Your Mother": Psychoanalysis and Race," transfigures Charles Mingus' melodic, cryptic, and most puzzling record title into a workable theoretical cacophony. Closely written within the contexts and outside the confines of "some vaguely defined territory between well established republics," Spillers is able to open up the sarcophagus of meaning(s) within the Black occupation (...) of the psychoanalytic discourse. Mingus' original assertion, "all the things you could be by now, if Sigmund Freud's wife was your mother," means absolutely nothing insofar as it means everything in the face of constructed openings and invitations into "extending the realm of possibility for what might be known." As such, this article asks a similar question relating to what might be known about the sensual convergence of media, violence, and representation ('all the things we could see by now') of international, political, and theoretical significance. If anything, Spillers and Mingus compel us toward locating some semblance of forgotten relationality between what appears to be abstract, distant, and unfamiliar. Given our contemporary era of violent post-colonial terror and desires for alternatives to the afterlife of slavery, this article endorses the free-floating investigation into the live survey of unprotected human flesh in the specific case of Boko Haram's explosion in modern media. Is it possible that such a study is able to uncover the motive behind the assembly of spectatorship? Through a Freudian reading of human nature into international political theory, this article indicates that narrative formation and transmission is an essential component to the development of both ethno-universalisms and global constructions of race and captivity. (shrink)

This article examines the portrayal of matricentric feminism as well as expounds the issues of mythology and how both informed each other in Umaru Landan and Dexter Lyndersay’s Shaihu Umar. It argues that Fatima’s sojourn in search of her son, Shaihu, is propelled by a will borne out of motherhood and given strength by supernatural forces. The methodological base of the study is qualitative in nature appropriating the concepts of matricentric feminism and mythology as structural scaffoldings while Jacques Derrida’s concept (...) of deconstruction will be used as analytical framework. This concept attempts to challenge the interpretation of a text based on conventional notions of stability of human self, the external world, and of language and meaning. The philosophy of existence of the eponymous character is revealed in the play. The article tries to probe if the matricentric elements exuded by Fatima (Shaihu’s mother) are just a will tied to motherhood or if it is given strength by the metaphysics of presence and the messianic. (shrink)

The 'traditional philosophical prestige' of seeing and touching, as analyzed by Emmanuel Levinas, comes to dominate the qualities of the other three senses. An investigation of the roles of these prestigious senses, along with the resultant privileged sense-organs of the hand and the eye, within phenomenology, psychoanalysis, and gender- or queer-theory suggests that the part of the prestige of touch will have been related to its function in the phenomenality of feeling. Yet the sense of taste seems to be as (...) applicable, if not more so, to the phenomenal experience of selfhood based on feeling as theorized by Edmund Husserl and Jean-Luc Marion. The tongue, rather than the hand, is reconsidered as a sense-organ of touch in order to salvage the all but lost tang of the tangible. As such, the tongue and taste not only illuminate the shortcomings of binary gender theories based on either inner feeling or outer surface anatomy (or, either interior orifices or exterior appendages), but further discover a remarkable phenomenology of the body to be found in the writings of Hélène Cixous and Monique Wittig that moves beyond certain masculine tendencies lurking about the hand and observation (as described by Freud and Butler). The phenomenal experience of the other that yields either empathy (for Husserl), love/eros (for Marion), or hearing and heeding 'Thou shall not kill' (for Levinas) has much to learn from the orality of women's writing. The third body, as written by Cixous, can experience the self as selftaste (as considered by Derrida) and experiences the other as the taste of the other. It is, thereby, opened to a love or a justice (or an erotic justice) beyond the proclamation of Levinas that 'ethics is an optics' as well as any ethics as a mere haptics to be found in Husserl or Marion, where feeling seems always determined by the hand. (shrink)

In The Age of the World Picture, philosopher Martin Heidegger claims that scientific representations do not reduce themselves to pure appropriations of what they present. Rather, they convey investigations that confine being to rules of appropriation. Those rules govern how natural science accesses phenomena. The choice of natural science as the predominant mode of representation of reality entails what Heidegger calls a process of objectification (Vergegenständlichung). In his Zollikon Seminars, Heidegger questions the tribute paid by the sciences of the mind (...) to the logic of the natural sciences, and stresses that Freud, by thinking of the mind as a machine driven by instinctive powers, assigns to human phenomena the objective features set by the natural sciences. This paper purports to show that Winnicott, by formulating a theory of personal maturing, disagrees with the objectifying requirements of the natural sciences. For Winnicott, traditional psychoanalysis uses categories that are inadequate for describing the changes babies undergo in the environment that gives them care and attention, because its analysis is confined to the field of libido relations. With that in mind, it is not possible to speak about human maturation processes using an objectifying language; Winnicott stresses (in The newborn and his mother) that “I cannot sacrifice a patient on the altar of science”. This paper argues that Winnicott disagrees with the naturalistic imperative, which reduces the real to what is objective and places physics as a model for the sciences. The paper also broaches on the issue of how far the considerations of Heidegger and Winnicott regarding access to human phenomena allow us to discuss the current overwhelming process of medicating everyday life. (shrink)

At a distance of more ten years from publication (2000 French/2005 English translation), with this essay I will re-read, comment and discuss, in different way and in form of anthological sketch, the Derridean volume ‘On Touching-Jean Luc Nancy’, focusing in particular on its ‘tangents and its metonymies’, its manifold entanglements with the metaphysics of touch and bodily connections. Making use of the geometrical figure of the tangent, Derrida affirms that "[if] philosophy has touched the limit [my emphasis-J. D. ]. of (...) the ontology of subjectivity, this is because philosophy has been led to this limit”. To touch is to touch a limit, a limit without depth or surface. How have we regarded touching in the past? The body? My thesis is that if Derridean reflection remains mostly anchored to Jean-Luc Nancy’s Corpus, it is inspired nevertheless by a different deconstructive gesture/s similar to different geometric tangents (the deconstructive practice is similar to the tracing of many tangents). Discussing in particular Nancy’s Dis-Enclosure: The Deconstruction of Christianity, Derrida’essay ‘Deconstruction of Christianity’ and devoting an entire section of the book to the sense of touch in the Gospels, Derrida gives us numerous and special considerations on deconstruction and the deconstruction of touch in Christianity, admitting as well the enormity of this task. A reflection on the Kas Saghafi, “Safe, Intact”: Derrida, Nancy, and the “Deconstruction of Christianity” will follow in an exemplary way. Following a discussion of touch and the body in both animal and human spheres, in the closing section of the essay, I will comment on the Patrick Llored’s essay A Philosophy of Touching Between the Human and the Animal: The Animal Ethics of Jacques Derrida, recently published in A Companion to Derrida (2014). This study addresses highly topical questions such as: ‘What does it teach us about touch, but also about the body and the life of the animal? To what extent is it capable of renewing our knowledge [connaissance] of non-human life and of generating an animal ethics reconceived from top to bottom? If touching is coextensive with the living body, that implies not only that we place the haptical question at the centre of reflection on the animal, but also that we take into account the consequence that is most disruptive for us today (A Companion, p. 512). And conclude along with Patrick Llored that the question of touch promises to transform everything we have understood until now about animality. (shrink)

ميتافيزيقيا المعاناة كتابة: جياني فاتيمو ترجمة: وليم العوطة -/- ينتقد الكاتبُ التقليدَ الغربي الطويل في تمجيد الألم الجسديّ والذهنيّ بوصفه وسيلةً مفضّلة في ‏تعلّم الحقائق الأساسية. تشكّل هذه المثلنة[الأمثلة] للألم والأسى، وللزهدِ عامّةً، جزءًا أساسيًا من ‏الميتافيزيقيا الغربية، وبوصفها كذلك فقد ألقت بأثرها على الطبّ الغربي والحقول الأخرى، بما فيها ‏التحليل النفسيّ. يمكن أيضًا توسيع نقد هايدجر للميتافيزيقيا الغربية ليطال أيديولوجيتنا الحالية في ‏الإنكار، وبمعارضتها يضع الكاتب قبولَ المرء بتاريخيته الجذرية.‏ .

निर्गुण प्रेम मार्गी सूफ़ी संत कवि एवं उनका काव्य, ज्ञान मार्गी संत काव्य धारा एवं निर्गुण प्रेम मार्गी सूफ़ी संत काव्य धारा में साम्य एवं वैषम्य -/- Author / Authors : डॉ0 आभा रानी Page no. 9 - 49 Discipline : Hindi Literature/Cultural studies/Sufism Script/language :Devnagiri / Hindi Category : Research paper Keywords: निर्गुण प्रेम मार्गी सूफ़ी संत कवि, ज्ञान मार्गी संत काव्य धारा, निर्गुण प्रेम मार्गी सूफ़ी संत काव्य धारा.

Drawing on Furio Jesi’s 1979 book "Cultura di destra" [Right Wing Culture], this article sketches a preliminary genealogy of fascist accelerationism, a distinct current of white supremacist militancy responsible for a considerable number of North American mass murder events over the span of four decades. After positioning Jesi’s theory of fascist violence within the broader methodological turn of his late period work, the article proceeds to outline three key features of right-wing thought: a language of wordless ideas, a funerary religion (...) of exemplary deaths, and a repertoire of militant yet militarily "useless" tasks. Resisting the tendency either to over- or under-politicize these deadly events, Jesi’s analysis instead allows us recognize the operation of a mythological machine that animates white supremacist mass murders over the past half century. The aim of this article is to trace the genesis and mutation of this machine, with particular emphasis on the period from 1975 to the present. (shrink)

This chapter argues that Marx was not primarily concerned with the question of poverty. Rather, Marx’s main object of critique is the relations of power inherent in capitalism. According to Marx, poverty is the end result of the structural processes that are constituted by relations of power. After explicating the coercion, domination, and exploitation inherent in capitalism, the chapter discusses the status and the different layers of the non-working poor in Marx’s theory, what he calls “the industrial reserve army”. The (...) chapter concludes by comparing Marx’s conception of poverty with that of liberal political philosophy. -/- . (shrink)

Miriam Schoenfield argues that moral realism and moral vagueness imply ontic vagueness. In particular, she argues that neither shifty nor rigid semantic accounts of vagueness can provide a satisfactory explanation of moral vagueness for moral realists. This paper constitutes a response. I argue that Schoenfield's argument against the shifty semantic account presupposes that moral indeterminacies can, in fact, be resolved determinately by crunching through linguistic data. I provide different reasons for rejecting this assumption. Furthermore, I argue that Schoenfield's rejection of (...) the rigid semantic account is based on a presupposition that ultimately implies the very same claim that is under dispute: the vagueness of moral predicates in imperfect languages persists in the perfect language, as well. (shrink)

I am much indebted to Jacob McNulty, Allegra de Laurentiis and Tony Smith for their generous attention to my book and their insightful remarks. Since I could not possibly do justice to all their concerns, I have unfortunately had to be selective. The issues discussed in this response are organized thematically. In the first section, I discuss why Hegel's logic of essence has to be understood historically; which is to say that the logic of essence provides an ontology that is (...) specific to capitalism. Then, in the second section, I discuss the nature of holism in the logic of essence, and correspondingly, the nature of social holism specific to capitalism. Finally, in the third section, I answer the question: if both Marx's critique of political economy and Hegel's own economic theory in the Philosophy of Right are based on the same logic of essence, why they are so divergent from, and indeed incompatible with, each other. (shrink)

In this article I develop Heidegger's phenomenology of poetry, showing that it may provide grounds for rejecting claims that he lapses into linguistic idealism. Proceeding via an analysis of the three concepts of language operative in the philosopher's work, I demonstrate how poetic language challenges language's designative and world-disclosive functions. The experience with poetic language, which disrupts Dasein's absorption by emerging out of equipmentality in the mode of the broken tool, brings Dasein to wonder at the world's existence in such (...) a way that doubt about its reality cannot enter the picture. (shrink)

Until recently, discussion of virtues in the philosophy of mathematics has been fleeting and fragmentary at best. But in the last few years this has begun to change. As virtue theory has grown ever more influential, not just in ethics where virtues may seem most at home, but particularly in epistemology and the philosophy of science, some philosophers have sought to push virtues out into unexpected areas, including mathematics and its philosophy. But there are some mathematicians already there, ready to (...) meet them, who have explicitly invoked virtues in discussing what is necessary for a mathematician to succeed. In both ethics and epistemology, virtue theory tends to emphasize character virtues, the acquired excellences of people. But people are not the only sort of thing whose excellences may be identified as virtues. Theoretical virtues have attracted attention in the philosophy of science as components of an account of theory choice. Within the philosophy of mathematics, and mathematics itself, attention to virtues has emerged from a variety of disparate sources. Theoretical virtues have been put forward both to analyse the practice of proof and to justify axioms; intellectual virtues have found multiple applications in the epistemology of mathematics; and ethical virtues have been offered as a basis for understanding the social utility of mathematical practice. Indeed, some authors have advocated virtue epistemology as the correct epistemology for mathematics (and perhaps even as the basis for progress in the metaphysics of mathematics). This topical collection brings together several of the researchers who have begun to study mathematical practices from a virtue perspective with the intention of consolidating and encouraging this trend. (shrink)

Text classification is one of the most important task in natural language processing, In this research, we carried out several experimental research on three (3) of the most popular Text classification NLP classifier in Convolutional Neural Network (CNN), Multinomial Naive Bayes (MNB), and Support Vector Machine (SVN). In the presence of enough training data, Deep Learning CNN work best in all parameters for evaluation with 77% accuracy, followed by SVM with accuracy of 76%, and multinomial Bayes with least performance of (...) 69% accuracy. CNN has the best performance in the presence of large enough training dataset because of the presence of filter/ kernels which help to indentify patterns in text data regardless of their position in the sentence. We repeated the training again with just one-third of our data, at this point SVM comes with the best performance, the performance of CNN noticeably drops but still better than Multinomial Naive Bayes, the reason why SVM works best when we reduce the training data was because of its ability to look for a hyper-plane that creates a boundary between different classes of data so as to properly classify them, so we believed that getting the hyper-plane was more efficient when we reduce the dataset, hence reason for the good performance. Multinomial Naive Bayes have the least performance which we attributed to its assumption of independency between the features which sometimes does not hold true. We concluded that availability of data should be an important factor when choosing classifier for Natural Language Processing Text Classification task. CNN should be use in the presence of enough dataset, and SVM should be use when data is not enough. Multinomial Naive Bayes must not be trusted with state of the art NLP task due to its assumption of independency between the features . (shrink)

A teacher controls the release of materials in attempt to get students to appreciate the appeal of a popular yet wrongheaded argument before exposing them to its shortcomings. An instructor uses body language, tone of voice, and images in a Power-Point presentation that appeal to non-deliberative mechanisms in order to influence the students to pay more attention, maintain their focus, or to remember the content better. How do we draw the line between such innocuous educational practices and problematic manipulation, such (...) as deterring students from questioning certain views by instilling fear or shame? I help answering this question by illuminating one significant danger, which hasn’t been accurately identified in the relevant literature: the danger that manipulations in education—even when they’re non-deceptive and aim for the good of the students—will hinder the development or fulfillment of the students’ deliberative projects. (shrink)

In Mary Shelley’s Frankenstein the brilliant scientist Viktor Frankenstein constructs and animates a gigantic and superhumanly powerful man. But upon animation, Frankenstein discovers he neglected beauty, and beholding his hideous creation flees in horror without even naming the man. Abandoned and alone the monster leaves society, yet secretly observing humanity learns language and philosophy and eventually discovers humanity’s self-understanding and his own self-understanding to be grounded in beauty rather than reason.

This work presents the design of an expert system that aims to provide the patient with background for suitable diagnosis of some of the eye diseases. The eye has always been viewed as a tunnel to the inner workings of the body. There are many disease states that may produce symptoms from the eye. CLIPS language is used as a tool for designing our expert system. An initial evaluation of the expert system was carried out and a positive feedback was (...) received from the users. (shrink)

Sign Language Recognition (SLR) aims to translate sign language into text or speech in order to improve communication between deaf-mute people and the general public. This task has a large social impact, but it is still difficult due to the complexity and wide range of hand actions. We present a novel 3D convolutional neural network (CNN) that extracts discriminative spatial-temporal features from photo datasets. This article is about classification of sign languages are not universal and are usually not mutually intelligible (...) although there are also similarities among different sign languages. They are the foundation of local Deaf cultures and have evolved into effective means of communication. Although signing is primarily used by the deaf and hard of hearing, hearing people also use it when they are unable to speak, when they have difficulty speaking due to a health condition or disability (augmentative and alternative communication), or when they have deaf family members, such as children of deaf adults. In this article we use the 43500 image in the dataset in size 64*64 pixel by use CNN Architecture and achieved 100% accuracy. (shrink)