Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under conditions (...) of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

Ornament is a valuable component in any architecture of buildings and cities that aims to connect to human beings. The suppression of ornament, on the other hand, results in alien forms that generate physiological and psychological distress. Early twentieth-century architects proposed major stylistic changes — now universally adopted — without having a full understanding of how the human eye/brain system works.

The article is devoted to the publication of the pottery with a stamp design from the Kniazha Hora Old Rus fortress. During field seasons of 1958–1965, a representative collection of ceramic products was found on the settlement by a detachment of the Slavic-Rus archaeology of the Kaniv complex expedition under the direction of Halyna Mezentseva. Pots that are decorated with geometric figures-stamps are noteworthy because they are rare for the Kniazha Hora area. Studying ornamentation is very important because the décor (...) reflects some aspects of the spiritual culture of ancient population. However, these unique findings have not been given due attention by previous researchers. In the papers, the stamp type of ornament is associated with the West Slavonic tradition. It testifies one more peculiarity of the Old Rus society’s culture, in particular, of the Kniazha Hora fortress. (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)

Adolf Loos is one of the few figures that Wittgenstein explicitly named as an influence on his thought. Loos’s influence has been debated in the context of determining Wittgenstein’s relation to modernism, as well as in attempts to come to terms with his work as an architect. This paper looks in a different direction, examining a remark in which Wittgenstein responded to Heidegger’s notorious pronouncement that ‘the Nothing noths’ by reference to Loos’s critique of ornamentation. Wittgenstein draws a parallel between (...) the requirement to start philosophy with an inarticulate sound and the need, in certain cultural periods, to highlight the borders of tablecloths using lace. Paying heed to Wittgenstein’s remark sheds further light on a Loosian influence at work in his thinking about modern civilization, both in his well-known ‘Lectures on Aesthetics’ and in the earlier notes from his 1930 lectures at Cambridge. (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)

English translation and annotation of Fazang's Treatise on the Golden Lion.

It will be a wrong judgment to consider grave stones as an ordinary tradition. When it is viewed in terms of history, art and culture, it can be seen that especially Turkish grave stones are record drawings that include many types of arts and artists’ labor, shed our culture and history and that is precious and unique. Grave stones are the documents that transfer not only the national culture but also transfer people’s beliefs, problems, fears, sadness and different feelings, who (...) breathe the same air and live in the same places. Because of this reason, grave stones are the cultural features that are shaped according to the differences in culture and decorated with life styles. Of course, Of course, having been applied plenty of traditional Turkish plastic arts on the tombstones, have all contributed to the diversity of tombstones in terms of composition and motifs. Rich craftsmanship of gravestones and sarcophagus in the second Bayezid graveyard is almost like an open air museum that shows Turkish motifs. While scarping was used for making gravestones are scarping, and painting were used as the main decoration tecnique is seen on foot stone with the painting technique, inscriptions of stones were coloured. Most of the inscriptions and decorations are relieved. Decoration subjects seen on gravestones are phytomorphic, geometric, objective and calligraphic. On the other side, these tombstones include wide knowledge about the socio-economic, cultural and regional headgears. When evaluating the information on the inscriptions, it can be obtained knowledge about the health conditions or epidemics in that period. Adolf Ebeling, article titled “Turkish cemeteries” in the 1882 the year Gartenlaube journal, when talking about the importance given to the graves by Turks, to say that the Turkish burial tomb can be an example to the world is no need to say more about it. The thomstones as the verbal means service to rebuilt the material world where the man has saved so far and the culture developing in accordance with this. The written tombstones which were formed by the individuals’ cherishing and remembering desires that the cultural, religious and traditional ones shaped, are the carrier elements of the values wich will provide to understand the sterotype requirements and ideologies within the cultural structure. Looking at the overall structure of the Turkish tombstones form shows major differences in male and female gravestones. In the Turkish tombstone tradition, women's elegance, finesse and beauty is reflected as a form of artwork. In fact, women in the Ottoman Empire, although excluded from the social life in very marginalized, especially in women flashy decorations tombstones, can be considered as an indication value which is given to women but unspoken. Since the tombstones have dates, they hold the distinction of being a document for ethnographic and art works. Moreover, inscribed tombstones are living evidences in order to prove that Turkish people lived in this land and also they have ethnographic value. Therefore, tombstones are important while the histories of cities, villages or boroughs are preparing. In short, tombstones are the common products of the environment that are built, religious beliefs, traditions, art, natural, social and economic conditions of the century. In this case they hold key for our culture history in addition to our art history. In this study, besides the effects of Turkish grave stones on our beliefs and daily lives, fruit patterns on the stones are also examined. The reflections traditional architectural and handicrafts motifs and the religious believes on the Turkish ornament art are explained by the examples chosen among gravestones in İstanbul II. Beyazıt Cemetery. In the colloquial language what fruit motifs mean in folk songs ang manias and how it is reflected on the ornaments of grave stones are investigated. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced game-worlds. Such (...) complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

This chapter presents an overview of the life, work, and philosophical contributions of Śāntarakṣita (c. 725–788), who is known for his synthesis of Nāgārjuna’s Madhyamaka with elements of the Dignāga-Dharmakīrti tradition of logic and epistemology. His two most important independent treatises, the Compendium of True Principles (Tattvasaṃgraha) and the Ornament of the Middle Way (Madhyamakālaṃkāra), are characterized by an emphasis on the indispensable role of rational analysis on the Buddhist path as well as serious and systematic engagement with competing (...) Buddhist and non-Buddhist schools of thought. Śāntarakṣita employs a pedagogical-rhetorical device of provisionally adopting what he deems to be successively more rational views to reject less rational ones. Using this approach, in the Ornament of the Middle Way, he recommends a gradual path to arrive at an understanding of the Madhyamaka ultimate truth by incorporating Yogācāra idealist ontology into his presentation of conventional truth. In this same text, he presents an influential iteration of the neither-one-nor-many argument for the Madhyamaka ultimate truth, the emptiness of intrinsic nature—i.e., the universal negation of ontologically independent being—leaving a lasting and significant impact on both Indian and Tibetan Madhyamaka Buddhist philosophy. (shrink)

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge by pointing (...) at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

The underdetermination of theory by data obtains when, inescapably, evidence is insufficient to allow scientists to decide responsibly between rival theories. One response to would-be underdetermination is to deny that the rival theories are distinct theories at all, insisting instead that they are just different formulations of the same underlying theory; we call this the identical rivals response. An argument adapted from John Norton suggests that the response is presumptively always appropriate, while another from Larry Laudan and Jarrett Leplin suggests (...) that the response is never appropriate. Arguments from Einstein for the special and general theories of relativity may fruitfully be seen as instances of the identical rivals response; since Einstein’s arguments are generally accepted, the response is at least sometimes appropriate. But when is it appropriate? We attempt to steer a middle course between Norton’s view and that of Laudan and Leplin: the identical rivals response is appropriate when there is good reason for adopting a parsimonious ontology. Although in simple cases the identical rivals response need not involve any ontological difference between the theories, in actual scientific cases it typically requires treating apparent posits of the various theories as mere verbal ornaments or computational conveniences. Since these would-be posits are not now detectable, there is no perfectly reliable way to decide whether we should eliminate them or not. As such, there is no rule for deciding whether the identical rivals response is appropriate or not. Nevertheless, there are considerations that suggest for and against the response; we conclude by suggesting two of them. (shrink)

This paper pursues Ernan McMullin‘s claim ("Virtues of a Good Theory" and related papers on theory-choice) that talk of theory virtues exposes a fault-line in philosophy of science separating "very different visions" of scientific theorizing. It argues that connections between theory virtues and virtue epistemology are substantive rather than ornamental, since both address underdetermination problems in science, helping us to understand the objectivity of theory choice and more specifically what I term the ampliative adequacy of scientific theories. The paper argues (...) therefore that virtue epistemologies can make substantial contributions to the epistemology and methodology of the sciences, helping to bridge the gulf between realists and anti-realists, and to re-enforce moderation over claims about the implications of underdetermination problems for scientific inquiry. It finally makes and develops the suggestion that virtue epistemologies, at least of the kind developed here, offer support to the position that philosophers of science know as normative naturalism. (shrink)

In this chapter I argue that writers on metaphor have misunderstood Aristotle on metaphor. Aristotle is not an elitist about metaphor and does not consider metaphors to be merely ornamental. Rather, Aristotle believes that metaphors are ubiquitous and believes that people can express themselves in a clearer and more attractive way through the use of metaphors and that people learn and understand things better through metaphor. He also distinguishes between the use of metaphor and the coinage of metaphor, and believes (...) that the ability to coin marvelous new metaphors is a form of literary genius, and he provided an entirely natural origin of metaphor coinage. (shrink)

Metaphor plays a central role in changing the architectural process. In order to better appreciate the nature of architectural creativity, generating more positive forms and volumes is required. Exists many conclusions which demonstrate that metaphors plays an important role shaping the design creativity. The aim of this paper is about understanding the exact role of the metaphor in architecture design from the concept of Aristotle to nowadays. Essentially it is the process by which most of the ideas come into being. (...) Metaphors structure our understanding and perceptions. They make our thoughts more interesting and more vivid. There are similar distinct uses of metaphor in architectural criticism, which is often heavily reliant on metaphor both as a form of expression and a tool of analysis. There is a dimension of meanings attached to the various uses of metaphor, ranging from the ornamental view at one hand to the rational view at the other [1].Metaphors role in the ecological design is essential and necessary. Architects use a variety of methods and techniques to enrich the architectural language. This process is accomplished with the infiltration of metaphors as a literary figure. By adopting the models of nature, there is a chance to work more sustainably and produce more sustainable products. Is this the paradigm shift we have been looking for? Maybe biomimicry and nature could be super metaphors in order to develop sustainable design. This paper should take in consideration also the metaphor as a tool implemented into design reflecting either positive or negative reactions. This theory should be explained by concrete examples. The working metaphor in the design process is another important issue to be judged. The aim of this paper is to demonstrate that architectural metaphors corporate in coherent ways with architectonic language shaping its functionality. Metaphor helps to perceive things from a different perspective that is new to us, changing and bringing new ideas. Architectural metaphors can be found everywhere also in the Albanian case. It is very evident how metaphor stretches architectural functionality. (shrink)

Prior to this intervention the site used to be a degraded fiscal property, that functioned as a bus yard, a police legal deposit, and a restaurant parking lot. Underneath it runs the Maldonado stream culvert, covered by a concrete slab at a depth of only -20cm. Next to the site is a 5m high railroad embankment. The plot is strategically located at the end of Juan B. Justo avenue and works as a gateway to the Tres de Febrero park (also (...) known as Bosques de Palermo, the Buenos Aires’s biggest green space designed by Charles Thays in 1875). It is situated in the neighborhood of Palermo, an area that underwent a vertiginous residential and commercial expansion since the late 90´s. -/- The design approach is influenced by the adjacent urban fragments: the grounds of the Sociedad Rural Argentina, the surrounding Avenues Santa Fe-Sarmiento; the opening of Darregueyra street expected for the near future, the implementation of historic preservation guidelines for the Tres de Febrero Park, and the proposal for the development of nearby railroad yards. -/- Specifically, the project seeks to minimize the impact of the fast traffic that runs along Bullrich avenue, improving pedestrian and cycle access to the park. At the same time it defines new landscape features, utilizing the earth made available by the tunneling works of a new subway line. -/- The project comprises the structuring of an existing 800 meter long embankment and the transformation of the sidewalk into a public promenade. This is achieved through a wider sidewalk of 12m on average, which is part of a series of longitudinal stripes ranging from high speed to quiet spaces. The first band of grass and aged tipas (tipuana tipu) buffer pedestrian and cyclist from automotive traffic. Cycle traffic is organized on its own lane. The sidewalk itself contains several bays that act as urban lounges. Next, a continuous concrete bench delimits the beginning of the slope, backed by a stripe of grass that works as a soft extension. Finally, plants for contemplation are arranged as undulating traces. Rhythmic use of retaining gabions defines longitudinal segments of varying slope, unifying the spacial criterion. This series is punctuated by an amphitheater and framed by triangular plazas at the corners. -/- Material choices for hard surfaces are constrained by concerns of durability, low cost, and consistency with other ongoing public works. -/- Hard materials, as well as the plant selection needed to be low-maintenance. The palette was kept to reinforced concrete, granitic slabs, and granite stone in large size –forming retaining gabions- and as loose finishing for pavements. Likewise, the lack of a protective enclosure and of continuous surveillance dictated that urban furniture and fixtures be anti-vandalic. The stealing of these components –from inspection lids, to benches, to plants- is a common problem in urban spaces in many Latin American cities. To prevent this, fixtures must be designed according to precise specifications regarding their weight, fixing and anchoring systems, and mechanical parts. -/- Sidewalks are organized through a 6 meter grid made of granitic white slab, infilled with textured combed nonslip concrete modules. Extended bays and corner squares are finished with white and black slabs respectively. These materials are similar to another used in public spaces under construction, in the believe that it creates a collective identification of themselves along the city. -/- The continuous reinforced concrete bench is 1.10 m wide, in order to allow people to use it in non-conventional ways. Further up on the slope, undulating paths separate plant species and provide access for gardening, but are also open to use by the public. They are paved with 2 meter-long precast concrete slabs (smaller and lighter pieces were avoided to deter robbery). As they reach the gabions they connect with sloping paths covered with loose granitic stones. The gabions themselves allow the creation of varying slopes while contributing to retaining the soil, which is reinforced with geosynthetic fabric in the perimeter to avoid landslides originated by strong rains typical of the region. -/- Urban furniture is featured on the wider bays of the sidewalk and at corner plazas. It includes seats, water fountains, bicycle racks, wastepaper baskets. As a counterpoint to the linear concrete bench, groups of concrete seats are arranged informally. These seats are a reinterpretation of the dynamic BKF chair (also known as Butterfly chair), the classic Argentinean design of the 1930’ by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy. A few low concrete tables complete these spaces as authentic urban lounges. Lighting design accompanies the general features of the project and creates a new scenography emphasizing night-time usage. -/- Landscape gardening criteria is set up by a selection of various species of high-resistant pasture (grass). The higher the slope, the higher the grass, increasing the final volumetric result. Based on considering the original tipas line (tipuana tipu, a species from the north of Argentina, yellow flowering) as a vertical wall that frames the view, the horizontal stripes contain a single species each, differing in size, shade and flowering periods –adding, in the middle band, a changing color on the big green plane slope in the same chromatic range. The final configuration of the stripe sequence from bottom to top: bermuda grass, bulbine frutescens, euryops pectinatus. The upper band existing native species is reinforced with new samples: paspalum exaltatum + cortadera selloana and ipomea + thumbergia climbing the railway fence. Each sector between gabions has an automated system of drip irrigation. Near the corner plazas, several palms are planted to provide shade and identity to the street-crossing. -/- The intervention proposes an ambivalent effect on the landscape, trascending the merely ornamental by accompanying the motorist in speed, while conforting the pedestrian with spaces for contemplation and urban relax. (shrink)

Leibniz’s lengthy theological treatise, Examen religionis christianae, has long puzzled scholars. Although a lifelong Lutheran who spurned many attempts to convert him to Catholicism, in the Examen Leibniz defends the Catholic position on a range of matters of controversy, from justification of the sinner to transubstantiation, from veneration of images to communion under both kinds. Inevitably, when finally published in 1819, the Examen quickly became the focus of a heated and sometimes ill-tempered debate about Leibniz’s true religious commitments. For many, (...) what was at stake was not simply the interpretation of a particular text but the very soul of Leibniz, that universal genius and ornament of Europe. The aim of this paper is to chart the various ways in which the earliest readers of the Examen responded to the text and sought to understand it. Such a study will enable us not only to see the varying and quite contrasting interpretations put forward for Leibniz’s motive for writing the Examen, some of which inform contemporary interpretations, but also give us the opportunity to take a deeper look at certain features of the text and the context in which it was written. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Recently, we have witnessed an explosion of studies and discussions claiming that Neanderthals engaged in a range of “symbolic” behaviors, including personal ornament use (Radovčić et al., 2015), funerary practices (Balzeau et al., 2020), visual arts (Hoffmann et al., 2018), body aesthetics (Roebroeks et al., 2012), etc. In Paleolithic archaeology, it has become mainstream to axiomatically infer from these putative behaviors that Neanderthals engaged in symbol use and that Neanderthals thus possessed some form of language. Rudolf Botha's bombastic title (...) "Neanderthal Language: Demystifying the Linguistic Powers of Our Extinct Cousins" provides a detailed and very critical overview of the archaeological hypotheses and speculations about Neanderthal language. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

Lezama, and later Deleuze, discovered that the baroque does not refer to an essence, but to an operative function. That operative function is the fold, which "curls and multiplies", as Lezama writes, and proliferates to infinity. We all know the examples with which Lezama placed his concept of the American baroque: the poems of Domínguez Camargo, those of Sor Juana, the architectures of the Kondori Indian, the baptismal fonts of Aleijadinho, "ornamented like accordions, with spiraloid leaves that ascend"; the chapel (...) of the Rosary, in Puebla, omamentada "without truce or free spatial parenthesis". This is how the fold operates, it is like a leprosy or a lichen -in the past, certain lichens were called leprosy-: it infests by enveloping and developing, it proliferates by setting in motion the fold-unfold pair. Lezama does not seek to reconfigure the sequences of history, but to superimpose other cycles on them, create gaps and vanishing points in chronological and causal narratives, divert the emphasis placed on cultures and redirect it to imaginary eras, until the meaning comes from a series of scales established in the historical. The eras would be ordered according to their potentiality to create images; thus it would be possible to establish the points where the image was imposed as history. The Carolingian imaginary era, for example, forged a link between the prodigies, the marvelous islands, the battles against the Saracens and theocratic reason. How are these scales established and how do they operate? How do counterpoint, images and links work? (shrink)

Like others who work with language, many lawyers no doubt appreciate good kennings. However, metaphors also play a much deeper role in thought and law than style, ornament, or verbal virtuosity. As we shall see, metaphors play a necessary role in our categories of thought. As a result, metaphors are a necessary part of thought itself, including legal thought.