The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical (...) object and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

Models are being used extensively for practicing and understanding scientific, engineering and mathematical subjects, but are rarely used as art analyzing tools, particularly, in learning environments. Contrarily, using art to explain mathematical ideas is not unprecedented. Strogatz (1988), for example, built a model based on Romeo and Juliet’s love story and used it to explain the idea of differential mathematics, and system dynamics. Artwork, specially written and plastic classics, is a fixed form of art. We frame them and put them (...) in a gallery, or a book (digital or physical). We don’t try to “fix” them or optimize their functioning, we analyze them to find meaning, intention, and patterns. In this article, we aim to show how, by building models combined with simple mathematical representations and analogies, it is possible to understand literary texts, from the prism of system and complexity theories, which emphasize the dynamic, non-linear, and non-reductionist aspects of the observed. We’ll demonstrate how modeling processes of three cultural assets, allow active correspondence with the original textual art, by treating them as systemic objects with interactions and dynamics. They will be analyzed while raising questions about the significance of modeling as a cognitive learning process. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and (...) neuroscience. This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

A human being though basically a physico-chemical and hence physiological being; is essentially a psychological being. Psychology is physiology, but “appears” separate to most humans and will be dealt with as here. But attempts will be made to intermittently connect with modern scientific understanding in terms of nervous system – the brain, spinal cord, nerves and neurons- to get a comprehensive picture of mind and its functions for academic purpose. -/- Psychology is human consciousness and mind and their functions manifested (...) as moods, thoughts, feelings, experiences, cognitions, re-cognitions and the like. Most of the difficulties faced by humans are financial and psychological. -/- The origin, structure, form, and function of human mind as revealed by Indian seers, wise-men, poets and intellectuals in the Upanishads and related spiritual and literary texts, will be translated into psychological and cognitive science elements. Thus an insight of human mental and related body functions will be deciphered. -/- This information then will be extended for its practical use to acquire a stress-free mind to face life in all its shades with equanimity and survive happiness, sorrow, natural and man-made calamities, and the like and the vicissitudes caused by them; and live a purposeful and dignified life of fulfillment as is done by many Indians who follow tradition with discretion. Irrespective of what happens or does not happen as desired around in the outside physical world and inner mental world as a reaction to outside happenings as moods, urges, thoughts, feelings, in the individual and how absorb and transcend the associated pleasantness or unpleasantness will be presented; and how to keep focused on ordained personal, social or social like duties will be highlighted. -/- The art and science of mind management for fitting and proud survival through ups and downs of life with the help of spiritual and cultural attitudes developed by Indian sages and other learned persons will be presented with clarity. For this first we must know, what human consciousness, mind and their form, structure and function is. Upanishads give a beautiful and insightful idea about this aspect. So this article focuses on the Upanishads and the gist available therein about consciousness, mind and their functions and control of mind and the how we can learn Art of Living from this wisdom. -/- . (shrink)

Indeterminacy in its various forms has been the focus of a great deal of philosophical attention in recent years. Much of this discussion has focused on the status of vague predicates such as ‘tall’, ‘bald’, and ‘heap’. It is determinately the case that a seven-foot person is tall and that a five-foot person is not tall. However, it seems difficult to pick out any determinate height at which someone becomes tall. How best to account for this phenomenon is, of (...) course, a controversial matter. For example, some (such as Sorensen (2001) and Williamson (2002)) maintain that there is a precise height at which someone becomes tall and such apparent cases of indeterminacy merely reflects our ignorance of this fact. Others maintain that there is some genuine – and not merely epistemic – indeterminacy present is such cases and offer various accounts of how best to account for it. Supervaluationists (such as Keefe (2008)), for example, claim that the indeterminacy with respect to vague terms lies in their not having a single definite extension. Rather, each term is associated with a range of possible precise extensions or precisifications such that it is semantically unsettled which is the correct extension. One precisification of ‘tall’ might allow that anyone over five feet ten inches is tall, whereas another would only allow those over six foot to qualify; but no precisification will take someone who is five foot to be tall, and someone who is seven foot will count as tall on all precisifications. Thus – while someone who is seven foot will be determinately tall and someone who is five foot determinately not so – it will be indeterminate whether someone who stands at five foot eleven inches is tall. -/- Yet, it is important to stress that putative cases of indeterminacy are not limited to vague predicates of this kind. Philosophers have invoked indeterminacy in discussions of topics as diverse as moral responsibility (Bernstein (forthcoming)), identity over time (Williams (2014)), and the status of the future (Barnes and Cameron (2009)). In this paper, we focus on two areas where discussion of various kinds of indeterminacy has been commonplace: physics and fiction. We propose a new model for understanding indeterminacy across these domains and argue that it has some notable advantages when compared to earlier accounts. Treating physics and fiction cases univocally also indicates an interesting connection between indeterminacy in these two areas. (shrink)

This book historically analyzes the art of memory, surveying multiple cultures, examining Chinese, Indian and Greek meditation, I then construct a new universal language using Aristotelian, and Daoist philosophy. The language utilizes Newtonian physics and a symbolic form of binary. -/- The inspiration for the language was Leibniz's charastica universalis, along with Bruno and Ramon lull wheels. The language attempts to mathematically define archetypes across the stated cultures. If the language hasn't made any worthwhile discoveries within mathematics and physics, I (...) hope it signifies my attempt to understand something just beyond my grasp. Bruno spoke extensively of signs. (shrink)

The essays collected in this volume are written by scholars from a wide range of disciplines (anthropology, archaeology, art history, philosophy and psychology). The papers ostensibly address how to evaluate rock art, but can also be read in the context of offering support for the affirmative in the debate regarding whether aesthetics is a cross-cultural discipline. Two alternative conceptions of the aesthetic provide the underlying antithesis and thesis respectively to all papers. The antithesis holds that the aesthetic pertains to a (...) conception of art that is an historical artefact of eighteenth century Europe. Most of the writers refer to this idea of art in terms of the object of a disinterested gaze (a second-hand reading of Kant), or as ‘art-for-art’s-sake’. The thesis of all papers, be it explicit or implicit, is that the aesthetic is a certain human predisposition or capacity to imbue physical properties with meaning and value; to link the sensuous with the semantic; to find meaning in form (Lamarque pp.27-8, Morphy pp.54, 59.). Some authors extend this beyond the artefact to the perception of nature (see the papers of Heyd, Ogawa, Stone). (shrink)

In contrast to the Nietzschean conception of Übermensch as signifying, hitherto, a supermanhood in moral terms alone, the principle of the latter lies in its being antithetical to the present human status, and in its thus proving altogether superior both ontologically and physically. With this premise the notions of Sixth Force and Photonic Frame are now associated. Set forth after a qualitative fashion, while the former is related to the thus far known elemental constituents of matter, as well as to (...) forces and interactions between matter particles, and under this form deemed to intangibly account for all the chaos, indeterminacy and otherwise imperfection or limit found so peculiar to man, the latter refers to an ultimate trait in the actual Overman touching a most luminous and unparalleled corporeality. An original conception of geometry in photonic terms is also propounded. Illustrations meeting at length with a semiotic process and literary hints add to the suggestion. (shrink)

From the publisher: -/- This important new study reevaluates British art writing and the rise of formalism in the visual arts from 1900 to 1939. Taking Roger Fry as his starting point, Sam Rose rethinks how ideas about form influenced modernist culture and the movement’s significance to art history today. -/- In the context of modernism, formalist critics are often thought to be interested in art rather than life, a stance exemplified in their support for abstract works that exclude the (...) world outside. But through careful attention to early twentieth-century connoisseurship, aesthetics, art education, design, and art in colonial Nigeria and India, Rose builds an expanded account of form based on its engagement with the social world. Art and Form thus opens discussions on a range of urgent topics in art writing, from its history and the constructions of high and low culture to the idea of global modernism. Rose demonstrates the true breadth of formalism and shows how it lends a new richness to thought about art and visual culture in the early to mid-twentieth century. -/- “This book is a gem. It gives the most comprehensive and accessible account of the importance of form in the last hundred years of writing about art. It should be compulsory reading not just for art historians, but also for aestheticians and anyone interested in visual culture.” —Bence Nanay, author of Aesthetics as Philosophy of Perception -/- “This is an exceptionally wide-ranging and successful study of a central topic in the history of modernism. Rose moves with enviable facility between archival research and historical concerns and a crisply incisive discussion of the status and integrity of the key ideas. The final section, which extends the story outward into new areas, will be an invaluable spur to future research.” —David Peters Corbett, author of The World in Paint: Modern Art and Visuality in England, 1848–1914 -/- “It’s time we had a sophisticated account of form in the modern visual arts to replace the crude caricatures that have dominated the literature on so-called modernist formalism. Sam Rose supplies this with precision (in his careful readings of modernist texts that have too often been oversimplified) and imagination (in relating them to wider, sometimes surprising, contexts). Demolishing the notion that formalism must be escapist, he provides a cogent explanation for how the study of the Old Masters could go hand in hand with the theorization of a modern art. This lucidly written book not only challenges preconceptions about formalism but shows why we cannot ignore the question of form in discussions of the visual arts up to and including the present day.” —Elizabeth Prettejohn, author of Art for Art’s Sake: Aestheticism in Victorian Painting -/- “A brilliant and timely account of aesthetic form and formalism. Debates about form are fundamental to modernism, and indeed to the story of the arts in the twentieth and twenty-first centuries, yet until now we have been lacking a sustained investigation of how this came to be. Art and Form is a great work of art history, and it will also prove indispensable to literary scholars, philosophers, and cultural critics.” —Rebecca Beasley, author of Ezra Pound and the Visual Culture of Modernism. (shrink)

In a political moment characterised by post-truth ideologically generated misinformation and algorithmically propagated discourse: questions of fact, of inquiry, of perspective are paramount. This work examines what it means to write literature or to do philosophy while encountering a world of diffuse truths. It asks how can we retain clarity without erasing the fact that perspectival knowledge is always already embedded, piecemeal, contextual? To answer this question, I turn to a more foundational one, that has plagued philosophy since Plato proclaimed, (...) “there is an old quarrel between philosophy and poetry” (Republic, 607b5–6). My thesis picks up on a central aspect of the quarrel, the claim that art doesn’t lead to truth. I ask: what is the nature of literary inquiry and how can literature distinguish itself as an autonomous form of intellectual inquiry, if it can at all? Beginning with David Foster Wallace’s “The Empty Plenum”, I argue for a novel ‘perspectival’ or ‘mystical’ interpretation of Wittgenstein’s Tractatus Logio-Philosophicus. Contrary to dominant literary scholarship, I claim that it is Wittgenstein’s Saying–Showing distinction that offers us a guide for conceiving of the true value of literary inquiry, and thereby provides us with a robust response to Plato. The ‘ancient quarrel’ can thus be addressed resolutely. What does literature offer? Literature is free to communicate where philosophy is unable—to show what philosophy cannot say. Using the examples of Davidson, Heidegger, Wallace, Wittgenstein, Borges and Lerner I flesh out the notion of showing in literature, and how it functions to induce a perspectival shift in order that the reader may see the world ‘aright’, whatever ‘aright’ may be. This dissertation may be best conceived as a contribution to the project of questioning the inherent power-dynamics and ideological biases that inform the disciplinary separation of literature and philosophy. (shrink)

In the present book, the starting line is defined by a morphogenetic perspective on human communication and culture. The focus is on visual communication, music, religion (myth), and language, i.e., on the “symbolic forms” at the heart of human cultures (Ernst Cassirer). The term “morphogenesis” has more precisely the meaning given by René Thom (1923-2002) in his book “Morphogenesis and Structural Stability” (1972) and the notions of “self-organization” and cooperation of subsystems in the “Synergetics” of Hermann Haken (1927- ). (...) The naturalization of communication and cultural phenomena is the favored strategy, but the major results of the involved disciplines (art history, music theory, religious science, and linguistics) are respected. Visual art from the Paleolithic to modernity stands for visual communication. The present book focuses on studies of classical painting and sculpture (e.g., Leonardo da Vinci, William Turner, and Henry Moore) and modern art (e.g., Jackson Pollock and Joseph Beuys). Musical morphogenesis embraces classical music (from J. S. Bach to Arnold Schönberg) and political songwriting (Bob Dylan, Leonhard Cohen). The myths of pre-literary societies show the effects of self-organization in the re-assembly (bricolage) of traditions. Classical polytheistic and monotheistic religions demonstrate the unfolding of basic germs (religious attractors) and their reduction in periods of crisis, the self-organization of complex religious networks, and rationalized macro-structures (in theologies). Significant tendencies are analyzed in the case of Buddhism and Christianism. Eventually, a holistic view of symbolic communication and human culture emerges based on state-of-the-art in evolutionary biology, cognitive science, linguistics, and semiotics (philosophy of symbolic forms). (shrink)

This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by (...) Lessing and Mendelssohn about the relationship between form and content in works of art. I maintain that Kierkegaard follows early German Romantic thinkers in applying these aesthetic concerns to philosophical writing. By way of conclusion, I discuss the implications of Kierkegaard’s position for contemporary scholarship. (shrink)

As Jaegwon Kim points out in his excellent new book, “reductionism” has become something of a pejorative term in philosophy and related disciplines. But originally (eg, as expressed in Ernest Nagel’s 1961 The Structure of Science) reduction was supposed to be a form of explanation, and one may wonder whether it is reasonable to reject in principle the advances in knowledge which such explanations may offer. Nagel’s own view, illustrated famously by the reduction of thermodynamics to statistical mechanics, was that (...) reduction is a relation between theories: theory A is reduced to theory B by formulating “bridge laws” which link the terminology of the theories, and using them to derive A from B. (An additional reductive claim is that Aphenomena are identical with certain B-phenomena—as when the temperature of a gas is identified with its mean molecular kinetic energy—but this kind of identity claim is, strictly speaking, independent of the claim about theories.) Applied to the case of mental states and brain states, a reduction would provide explanatory relations between psychology and neuroscience, normally supplemented with the claim that mental properties are identical with physical properties in the brain. (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works (...) as being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Émile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely (...) absorbed by the environment. The “social” core of a realistic personage is based on the principles of typification, but the “biological” core of a naturalistic character cannot be a generalized type because in it the individual prevails over the typified. Images of Germinie Lacerteux and Thérèse Raquin from the Goncourts’ and Zola’s same-name novels respectively are considered to be prototypes of naturalistic characters. In Ukrainian literature, Ivan Franko interpreted and synthesized Western European experience using realistic and naturalistic art to create his own concept of “scientific realism.” The difference in Franko’s personage construction lies in the fact that he does not confine himself to the observation and description of his heroes’ behavior but offers a plan for correcting their deficiencies. (shrink)

“Applying the Heisenberg Uncertainty Principle to 21st Century Art” was delivered to the 2009 Congress of the International Association of Art Critics (AICA) in Dublin as a guide to critical thinking through a paradigm shift. This new paper uncovers a new critical theory in the form of a formula that has been successfully applied to a universal appraisal of arts across all boundaries, whether they be gender, discipline or culture. The configuration predicted by Pauli as arising from under the collapsed (...) quantum wave is sourced in an ancient icon: the hieros gamos. As her functional role as newspaper critic shifted to a more esoteric passage as performance artist/curator/blogger, the author spent 14 years theorizing; and another 14 years applying a new critical theory to contemporary art. Her (R)evolution series for the Huffington Post places the containment of the hieros gamos at the forefront of contemporary art practice. The goal is the embodiment of Jean Gebser’s 360-degree aperspectival awareness, whereas the shadow is contacted and absorbed into the very body of art. This paper will reveal the strategy for determining holistic art forms containing the 21st century icon that Pauli understood would arise from under the collapsed quantum wave. (shrink)

Human consciousness, the result of breathing process as dealt with in the Upanishads, is translated into modern scientific terms and modeled as a mechanical oscillator of infrasonic frequency. The bio-mechanic oscillator is also proposed as the source of psychic energy. This is further advanced to get an insight of human consciousness (the being of mind) and functions of mind (the becoming of mind) in terms of psychic energy and reversible transformation of its virtual reflection. An alternative analytical insight of human (...) consciousness and mental functions to other theoretical approaches is developed based on Upanishadic insight and presented.That reversible transformation of virtual psychic energy reflection termed as maya, creating various consequential / parallel / simultaneous conscious-states, phases, cognitive and communicative states, modes of language acquisition and communication, and kinds of function of human mind is visualized. The concept is extended to delineate form, structure and functional mechanism of human mind and to know how it facilitates human mental acquisitions, retention, communications, including language abilities. This proposal is extensively discussed and the hardware and software of mind as envisaged in Indian philosophical systems are put forward.All this presentation is translated to neuro-biology in terms of brain wave modulation / demodulation terms. Also a preliminary proposition of physic-chemical nature of human thoughts and ideas is given. (shrink)

The need for revolution in modern physics is a well known and often broached subject, however, the precision and success of current models narrows the possible changes to such a great degree that there appears to be no major change possible. We provide herein, the first step toward a possible solution to this paradox via reinterpretation of the conceptual-theoretical framework while still preserving the modern art and tools in an unaltered form. This redivision of concepts and redistribution of the data (...) can revolutionize expectations of new experimental outcomes. This major change within finely tuned constraints is made possible by the fact that numerous mathematically equivalent theories were direct precursors to, and contemporaneous with, the modern interpretations. In this first of a series of papers, historical investigation of the conceptual lineage of modern theory reveals points of exacting overlap in physical theories which, while now considered cross discipline, originally split from a common source and can be reintegrated as a singular science again. This revival of an an older associative hierarchy, combined with modern insights, can open new avenues for investigation. This reintegration cross-disciplinary theories and tools is defined as the “Neoclassical Interpretation.” . (shrink)

Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

It is not by thinking that we create worlds. It is by understanding the world that we learn to think. Cosmovision is a term that should mean a set of foundations from which emerges a systemic understanding of the Universe, its components as life, the world we live in, nature, human phenomena, and their relationships. It is, therefore, a field of analytical philosophy fed by the sciences, whose objective is this aggregated and epistemologically sustainable knowledge about everything that we are (...) and contain, that surrounds us, and that relates to us in any way. It is something as old as human thought, and, in addition to using elements of scientific cosmology, it encompasses everything in philosophy and science that refers to the universe and life. A cosmovision is not a set of ideas, hypotheses, and assumptions but a system based on observation, analysis, evidence, and demonstration. No cosmovision intends to define, establish, or propose but only to understand, analyse, and interpret. Each of us builds and transports his cosmovision throughout life, without establishing forms, as a background for our thinking and behaviour. Linguistically, the term “cosmovision” would derive from the German, equivalent to the concept of “ Weltanschauung,” as used by several philosophers. However, this linguistic relationship is not applicable because it contradicts what we propose as a cosmovision. This German word refers to a pre-logical or proto- experimental vision of reality, with an intuitive context and far from critical knowledge still non-existent at the time of its formulation. Undoubtedly, cosmovisions, in the sense in which we understand them, house and use these proto-experimental or pre-logical elements that include history, the collective unconscious, and all the archetypes we carry. However, in the concept that we apply here, the cosmovision goes far beyond this content, firstly by constantly submitting it to present critical thinking, and finally by making the analytic experience ( and not the thought itself or intuition) its actual universe. António Lopes expose the breadth of this content: -/- "Cosmovisions are not the product of thought. They do not spring from the simple desire to know. The apprehension of reality is an important moment in its configuration, but, nevertheless, it is only one. It comes from the vital conduct, from the experience of life's evaluation, and from the structure of our psychic totality. The elevation of life to consciousness in the knowledge of reality, in the valuation, and in the volitional reality is the slow and arduous work that humanity has done in the development of the conceptions of life. (W. Dilthey, 1992 [1911]: 120)”(1) -/- In this work, we seek to outline a cosmovision based on the realities that science offers today. We do not propose, at any time, to do science; or theorise philosophy, but we will always seek to be supported by them or, at least, protected by them from the cognitive distortions that we usually carry. ________________________________________________ (1) Lopes , Antonio – “ Weltanschauung (Cosmovision)” (2009 ) in Carlos Ceia's E-Dictionary of Literary Terms. -/- . (shrink)

This paper argues that the Igbo artistic tradition, contrary to Plato‟s, represents authentic Igbo cultural traits, and fills the gap between the abstract reality and the physical world. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being Plato‟s account of arts as (...) imitation doubted the capacity of art to represent reality as it were, and thereby creating a lacuna between the abstract and the physical. On the contrary, most Igbo and traditional African artistic works were to collaborate between what is thought of and what is seen. There is some obvious difficulty encountered by most of the expatriate scholars in understanding the new meaning of art, especially, with regard to professions. Traditionally, artistic forms are simply derived from specific objects in nature, or as an illustrative symbolic representation of a specific abstract being. We argue, therefore, that the traditional Igbo, and African art works represented reality and serve as a vehicle of conveying knowledge, and truth about reality. To characterise art in terms of style and attribute would put the origin and purpose of art works to dereliction. (shrink)

The paper deals with visions of Kyiv in the writings of Russian and Ukrainian émigré writers during the interwar period. The city became a focal point of intensive intellectual debate whose participants regarded Kyiv not only as a place of a recent battleground but also as a sacral place and a highly symbolic image. Within the methodological framework of ethnic symbolism, this study attempts to explain how this physical/symbolic dichotomy was used to reinforce continuing claims for historical origin and (...) cultural heritage, thus serving the contemporary purpose of national identity and political legitimacy. It also deploys the concept of displacement as a complex process of negotiation between homeland and hostland within an émigré community — whose sense of loss and identity crisis creates additional impetus, though in different forms, for exploiting historical narratives. (shrink)

What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type (...) of phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art. (shrink)

The question of what ontological insights can be gained from the knowledge of physics (keyword: ontic structural realism) cannot obviously be separated from the view of physics as a science from an epistemological perspective. This is also visible in the debate about 'scientific realism'. This debate makes it evident, in the form of the importance of perception as a criterion for the assertion of existence in relation to the 'theoretical entities' of physics, that epistemology itself is 'ontologically laden'. This is (...) in the form of the assumption that things (or entities) in themselves exist as such and such determined ones (independent of cognition, autonomously). This ontological assumption is not only the basis of our naïve understanding of cognition, but also its indispensable premise, insofar as this understanding is a fundamentally passive, 'receptive' one. Accordingly, just as 'perception' is the foundation, ('objective') description is the aim of cognition, that which cognition is about. In this sense, our idea of cognition and our idea of the things are inseparably linked. Without the ontological premise mentioned we just would not know what cognition is, but it is basically just a kind of image that we have in our minds (an assumption that helps us understand 'cognition'). Epistemology not only shares this basic assumption (which it also shares with metaphysics), but it revolves (unlike metaphysics) entirely around it by making the idea and demand of 'certainty' a condition of 'real' knowledge. As 'certainty' is a subjective criterion this entails the 'remodelling' of the real, holistic cognitive situation (to which metaphysics adheres) into a linear subject-object-relation (which results in the strict 'transcendence' of the objects). And it also establishes, due to its 'expertise' in matters of cognition, the 'primacy of epistemology' over all other sciences. Now, on closer inspection, however, the expertise of epistemology seems not all that dependable, because it basically consists only of paradigms which, from the point of view of the holism of the real cognitive situation itself, are nothing more than relatively simplistic interpretations of this situation. However, we do not yet know what another conception of cognition might look like (which is not surprising given the high rank of the phenomenon of cognition in the hierarchy of phenomena according to their complexity). 'Certainty' as a criterion of cognition is thus excluded from the outset, and thus the linear relational model of cognition appears as what it is, a gross distortion of the real, holistic cognitive situation. The significance of this argumentation with regard to physics is that the linear epistemological model of cognition itself is a major obstacle to an adequate epistemological understanding of physics. This is because it is fixed 'a priori' to an object-related concept of cognition, and to 'description' as the only mode of ('real') cognition. But physics (without questioning our naïve notion of cognition on the level of epistemology) simply works past it and its basic assumptions. Its cognitive concept (alias heuristic) is fundamentally different from that of metaphysics. The acceptance of the real, holistic cognitive situation is, in my opinion, the condition for an adequate understanding of physics' heuristic access to objects, its transcendental, generalizing cognitive concept, as well as its ontological relevance and dimension of its own. (shrink)

Ibibio funeral art form has developed with the ethnic belief system of ancestral veneration. It has been marked with distinctive indigenization of spatial symbolization of forms to the creation of “nwommo” and cement tomb stone in their quest for relevance as an art form. The study was guided by following cardinal objectives; to identify and classify Ibibio funeral art forms according to their form and functions, to justify them as artworks, to mirror their changing features and functions through (...) the influence of Christianity, to achieve the objectives of the study. Primary and secondary sources of information were used as well as photographic materials that captured the various changing features over the period under review. Iconographical analysis, aesthetic value and social function of these funeral art forms have shown that they satisfy the condition as an art form. Keywords: . (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged (...) and will find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

From the exponential function of Euler’s equation to the geometry of a fundamental form, a calculation of the fine-structure constant and its relationship to the proton-electron mass ratio is given. Equations are found for the fundamental constants of the four forces of nature: electromagnetism, the weak force, the strong force and the force of gravitation. Symmetry principles are then associated with traditional physical measures.

This essay examines the difficulties faced by the claim that artworks are simple physical objects (or, in the case of non-visual art forms, simple structures of another sort) and examines alternative proposals regarding their ontological nature.

What distinguishes low, middle, and high art? In this article, I give an ameliorative analysis of these concepts. On what I call the Capacity View, the distinction between low, middle, and high art depends on the relation between an artwork’s perceiver (specifically her aesthetic responsive capacities) and the perceived artwork. Though the Capacity View may not align perfectly with folk usage, the view is worth our attention due to three attractive upshots. First, it explains how an artwork’s status level can (...) be elevated or lowered over time and why biases can lead to mistaken judgments about such statuses. Second, it sheds light on the idea of cultural inheritance and why certain forms of aesthetic deference may be justified. Finally, it explains how high, middle, and low art each make distinctive contributions to the good life. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Is shadowboxing an effective form of functional exercise? What physiological and morphological changes result from an exercise program based exclusively on shadowboxing for 3 weeks? To date, no empirical research has focused specifically on addressing these questions. Since mixed martial arts (MMA) is the fastest growing sport in the world, and since boxing and kickboxing fitness classes are among the most popular in gyms and fitness clubs worldwide, the lack of research on shadowboxing and martial arts-based fitness programs in the (...) extant literature is a shortcoming that the present article aims to address. This case study involved a previously sedentary individual engaging in an exercise program based exclusively on shadowboxing for 3 weeks. Body composition and heart rate data were collected before, throughout, and upon completion of the 3-week exercise program to determine the effectiveness of shadowboxing for functional fitness purposes. An original shadowboxing program prepared by an Everlast Master Instructor and NASM Certified Personal Trainer (NASM-CPT) and Performance Enhancement Specialist (NASM-PES) was used for this 3-week period. The original shadowboxing program with goals, techniques, and combinations to work on throughout the 3-week program is included in this article. This case study demonstrates that a 3-week exercise program based exclusively on shadowboxing can increase aerobic capacity, muscle mass, bone mass, basal metabolic rate, and daily calorie intake, and decrease resting heart rate, fat mass, body fat percentage, and visceral fat rating in a previously sedentary individual. The results of this research demonstrate that shadowboxing can be a safe and effective form of exercise leading to morphological and physiological improvements including fat loss and increased aerobic capacity. The results of this research also demonstrate that the Tanita BC-1500 is a reliable tool for individuals to evaluate their own fitness progress over time. (shrink)

Dance as art has been philosophically characterized as involving the natural expressiveness of human movements. But while some authors find the defense of expressiveness essential, others claim that it is not relevant to the understanding of dance and favour instead a focus on style, a supposedly more significant artistic feature. This paper is an attempt to provide an alternative account to both these positions, with the first (namely, that the dancers are supposed to convey emotions to us by their naturally (...) expressive movements) seeming too naturalistic and the second (that dance only consists in the performance of complicated gestures of a certain style) overly stylistic. (shrink)

Abstract: According to Marcuse, esthetics is an essential component to the process of freedom of consciousness and behavior of individuals. It is, in Hegelian language, to free the absolute spirit. In this sense, art configures itself as fantasy, which makes the “apparent” reveal the essence of things. Essence here is understood not as a metaphysical field, but as an unveiling of questions, within a false truth of the (establishment), in the totality of relationships. In dialectical terms, art manifests itself in (...) the face of internal and external contradictions, seeking the opposition to the representation of the aesthetic form. Marcuse refutes the conceptions of some “orthodox Marxist aesthetes”, making, therefore, the defense in relation to the art when recognizing that it transcends the material relations. He still considers the literary currents of romanticism and surrealism fundamental to awaken critical consciousness, and that the autonomy of art (independence, freedom, and fantasy), integrate the categorical imperative that “things must change” against the realism of the Marxist aesthetes. In this sense, we intend to expose Marcuse’s critical to the Marxist esthetes in order to understand the critical function of art for the liberation struggle. Keywords: Aesthetics. Orthodoxy. Critic. (shrink)

Writer, book and reader. Without writer and writings wouldn’t have been a reader. Hence, there wouldn’t have been criticism. The basis of human intellectual criticism depends on three basic elements: The writer, the book, and the reader. Criticism was essentially linked with the discovery of writing. Criticism as an idea is basically linked with human consciousness. Maturity, writing has merely added a new dimension to it namely criticism and synthesis, in which literature and philosophy has contributed greatly, despite the differences (...) between the two subject. Philosophy does not define one method for itself , for there are many trends and methods. Despite the differences in philosophers’ views on methods, there is a sort of unanimous of agreement among them on the method of analysis and synthesis. Literature is like philosophy, literary critic does not write for himself or merely for the enjoyment of his reader. He is in fact considered one of the tools that help the reader to understand the text of the criticized subject . We have many examples in the heritage of the Arab literary criticism. For example the writing of Taha Hussein in “Wednesday Talk” and his book on “ Matanabi”. Sometimes the literary critic helps the artist in understanding his art, as “Al Akaad” and “ Al Mazni” did in “ Al Diwan”. -/- As we saw the philosopher can build his philosophy while the literary critic can implement his purpose, we will try here to review and analyze the status of philosophical and literary criticism and then try to define the points of agreement and disagreement between them. (shrink)

I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...) dramatic literature. In such cases, we should say both that the performance itself is an artwork and that it is a performance of some literary work. I suggest that this way of understanding things promotes appreciation of both performances themselves and the dramatic works of literature that are employed in their creation. (shrink)

This book tries to present math to the millions and does a pretty good job. It is simple and sometimes witty but often the literary allusions intrude and the text bogs down in pages of relentless math--lovely if you like it and horrid if you don´t. If you already know alot of math you will still probably find the discussions of general math, geometry, projective geometry, and infinite series to be a nice refresher. If you don´t know any and (...) don´t have a natural talent for it, you will find it very dense or impossible. Being somewhere in the middle I skimmed thru most of it and slowed down when it got interesting. If you have only a little time I would suggest the last chapter ´The Abyss` about Georg Cantor and transfinite arithmetic. -/- At points they wax philosophical and ask the perennial question: is math is out there in the world or in here in our heads. Why not ask this about art or music or literature or computer programs or philosophy itself? In a very general way math must come from the same place that words and ideas and images come from---our brain evolved to make them and they must in many ways (every way?) reflect the structure of our brains, which reside in our DNA, which was shaped by natural selection, which was shaped by the geology of the earth and the structure of our universe, which comes from particle physics which comes from the laws of nature which are just there. -/- I have written extensively on the nature of math and language and mind and how they are all one in my many other reviews so please see them if these topics interest you. Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX -/- . (shrink)

In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important concepts appearing (...) in Margolis' aesthetics essays from the late 1950s to the 1970s: the type-token pair and the notion of cultural emergence. On the one hand, we will emphasise Margolis' indebtedness to Peirce's first formulation of the type-token distinction, involving a strong interdependence between the two elements of the pair, as well as an anti-essentialistic, historicised, and contextualised notion of type. On the other hand, we will delve into Margolis' exploration of the concept of emergence and cultural emergence, involving a genuinely pluralistic view of ontology, as well as a non-reductive, continuistic form of naturalism. Finally, we will connect the criticism of the so-called closure of the physical world with Margolis' anti-autonomistic stance in defining artworks. (shrink)

For many philosophers, the relation of medicine to health is exemplary for understanding the relation of human power to nature in general. Drawing on Heidegger and Aquinas, this paper examines the relation of art to nature as it emerges in the second book of Aristotle’s Physics, and it does so by articulating the duality of efficient causality. The art of medicine operates as a dispositive cause rather than as a perfective cause; it removes obstacles to the achievement of health, but (...) it does not impose health. Medicine, on this conception, aids the efficient causality of the natural body rather than substituting for it. The loss of dispositive causality makes efficient causality an imposition of force that bypasses the natural power to achieve natural goods. The paper concludes, with Plato, by arguing that dispositive causality offers a way to understand not only medicine but also governing, teaching, and parenting. (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)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

Panpsychism has many sides in common with Jung and Pauli's thinking, and analytical psychology is also a form of panpsychism. In this article we want to lay the foundations for a psychophysics that has an adequate onto-epistemology for the complex phenomenology of the relationship between quantum physics and consciousness. This onto-epistemology is a monism in which an informational-spiritual atemporal dimension, completely entangled in itself and teleologically anthropic, precedes and “informs” instantaneously and constantly matter-energy, space-time and consciousness.

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating (...) independently of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. In accordance with this reading, the function of Descartes' skeptical arguments is not to introduce skepticism so that it can be defeated but to aid the meditator in withdrawing the mind from the senses in order to attend to truths of the pure intellect. These truths then offer the basis for a new natural philosophy, including a new theory of the senses. (shrink)

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Literature plays a relevant role in Hegel’s philosophical discourse. On the one hand, literary references are often interwoven with his speculative argumentation, on the other hand, the Aesthetics regards poetry as the highest form of artistic expression, for it is able to represent the different ways of human action and to bring up their hidden ideal presuppositions. The aim of this paper is to show how the concept of action is crucial to the interpretation of literary phenomena in (...) the Aesthetics, but assumes different configurations in relation to the historical transformation of the concept of subjectivity. To verify the specifically aesthetic import of concepts such as action and recognition, which originally belong to the ethical-political sphere, I will examine Hegel’s interpretation of the chivalric literature, which is present in various areas and with different functions in the structure of the Aesthetics, as a component of his theory of subjectivity. This topic has been little studied but offers an interesting perspective on some problematic points of Hegel’s theory: the controversial relation between the structural dimension of the concept of art and historical development of artistic forms, the apparently univocal paradigm of classic beauty, and the definition of artistic modernity. (shrink)