Describes the return to a new classical style within art and architecture. Includes 350 illustrations of paintings, sculpture, and architecture.

This paper provides arguments for and against M.Lotman’s (2002) contention that Y.Lotman’s seminal concept of semiosphere is of post-modernist (post-structuralist; Posner 2011) orientation. A comparative reading of the definitional components of the semiosphere, their hierarchical relationship and their interactions is undertaken against the two principal axes of space and subjectivity in the light of Kantian transcendental idealism, as inaugural and authoritative figure of modernity, the Foucauldian discursive turn and the Deleuzian (post) radical empiricism (sic), as representative authors (...) of the highly versatile post-modernvernacular. This comparative reading aims at highlighting not only similarities and differences between the Lotmanian conceptualization of the semiosphere and the concerned modernist and postmodernist authors, but the construct’s operational relevance in a post-metanarratives cultural predicament that has been coupled with the so-called spatial turn in cultural studies (Hess- Luttich 2012). (shrink)

A rejoinder to Harri Mäcklin, "A Heideggerian Critique of Immersive Art".

As a grand narrative of progress, the utopian project of modernity is primarily concerned with notions of rationalism, universalism, and the development of a metalanguage. The triumph of the Moderate Enlightenment has seen logics of domination, accumulation and individualism incorporated into the project of modernity, with these logics giving rise to globalised capitalism as the metalanguage of modernity and neoliberal economics as the grand narrative of rational progress. The project of modernity is all but complete, requiring only the formality of (...) an end. However, rather than utopia, the foreseeable endpoint of modernity is environmental collapse, with neoliberal economics also serving as a grand narrative of environmental destruction. As an anti-modern response, postmodernism has been a triumphant failure. While there is much to be gained from the postmodern critique of modernity, its incredulity towards metanarratives has left it incapable of forming an adequate response to modernity, especially in regards to action on climate change. Postmodernism is better characterized as a crisis located within modernity itself and it will be argued that rather than the pursuit of the modern or the post-modern, we need to re-imagine ourselves as proto- historical to overcome the impasse of late-capitalism. (shrink)

This paper elucidates and illuminates the notion of post colonialism and post-modernism as an epitome upon which discourse on development related issues in the post-colonial world is premised. Secondly, the paper situates the emergence post colonial critical perspectives generally using development in the South as a point of reference. The paper specifically focuses on feminist postcolonial critical perspectives on gender, race and class. Accordingly, the paper explicates the implications of intersectionality on the development discourse in (...) the South and its multiplicative (not additive) effects on gender discrimination, women subordination and women agency with particular reference to the feminization of work and allocation of resources. The paper then looks at the indispensability of the intersectional methodology in the understanding of development related issues in the South before concluding accordingly. It ought to be born in mind that the paper envisages the North and South in terms of the Brandt commission(Klaus, 2002,p.5) demarcation or description but does not only look at the South in terms of territorial cartographies but also social ones(Robinson, 2002) as well in the sense that South race connections will greatly contributetothe marginalisation of Southerners or people of colour even if there are territorially situated in North for various reasons such as migration, slavery etc. (shrink)

The delusory quest for disembodiment, against which the quest for re-embodiment is reacting, is characteristic of macroparasites who live off the work, products and lives of others. The quest for disembodiment that characterizes modernism and postmodernism, it is argued, echoes in a more extreme form the delusions on which medieval civilization was based where the military aristocracy and the clergy, defining themselves through the ideal forms of Neo-Platonic Christianity, despised nature, the peasantry and in the case of the clergy, (...) women. This argument is used to expose and reveal the oppressive and ecologically destructive drive underlying the aspirations of the dominant classes in the modern/postmodern world to disembodiment, whether this be seen as the quest to be unbounded by time and place, to be free of dependence on labour and natural resources, to be free of the humdrum of everyday life by entering ‘virtual’ worlds, or, as with post-humanists, to overcome the limits of the body by fusing with technology. These modern and postmodern forms of the quest for disembodiment, it is suggested, now threaten civilization, the future of humanity and most terrestrial life. This analysis is used to clarify the liberating mission of the grand narrative for re-embodiment, exemplified by the quest for Inclusive Democracy, Earth Democracy, Ecological Civilization, or for an Ecozoic Age. The grand narrative of the Age of Re-embodiments is shown to be inseparable from the struggle for truth, justice and liberty as central to real democracy empowering people to augment rather than undermine the conditions for life. (shrink)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...) This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

This article offers a review of Richard Rorty’s attempts to come to terms with the role of religion in our public and intellectual life by tracing the key developments in his position, partially in response to the ubiquitous criticisms of his distinction between private and public projects. Since Rorty rejects the possibility of dismissing religion on purely epistemic grounds, he is determined to treat it, instead, as a matter of politics. My suggestion is that, in this respect, Rorty’s position is (...) best construed as that of a humanist rather than a post-modernist. Ultimately, it appears that, in his view, the positive element of religion—i.e. the idea of religion as a social gospel—has been absorbed and transformed into a utopian striving which humanists associate with the ideal of democracy. Hence, in this regard, religion can be considered obsolete. Yet, without explicitly invoking the usual epistemic grounds, Rorty’s arguments for excluding religion from the public sphere remain rather thin, and an interest in reforming rather than excluding religion would have been more consistent with his general outlook. (shrink)

The paradox of 'the One and the Many' might, more generally, be understood as the paradox of relationship. In order for there to be relationship there must be at least two parties in relation. The relation must, at once, hold the parties apart (otherwise they would collapse into unity) while holding them together (otherwise relationship itself would cease). It must do so, further, without itself becoming a third party which would then, itself, need to be related. This paper considers this (...) paradox as we find it manifest in the theories of quantum physics, the Socratic pursuit of universals, and, finally, at the very heart of human personhood - where we discover it at the core of interpersonal relationships, existential anxiety, and social distress. It is suggested, in the end, that though reason cannot resolve the terms of this paradox, there is a potential solution to the existential problems that spring from it, a solution lying in what Jesus calls, simply, 'faith.'. (shrink)

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. (...) This meta-project does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

A striking feature of post-modernism is its distrust of the subject. If the modern period, beginning with Descartes, sought in the subject a source of certainty, an Archimedian point from which all else could be derived, post- modernism has taken the opposite tack. Rather than taking the self as a foundation, it has seen it as founded, as dependent on the accidents which situate consciousness in the world. The same holds for the unity of the subject. (...) Modernity, in its search for a single foundation, held the subject to be an indissoluble unity. Post-modernism’s position, by contrast, is announced by Nietzsche: “The assumption of one single subject is perhaps unnecessary; perhaps it is just as permissible to assume a multiplicity of subjects, whose interaction and struggle is the basis of our thought and our consciousness in general? ...My hypotheses: The subject as multiplicity.” Given this, there is a natural correspondence between the success of post- modernism and the current interest in multiple personality disorder. In the latter, we actually have the experience of a “multiplicity of subjects” in their interaction and struggle. The subject stands there before us “as multiplicity.” It gives us a concrete case, one which raises some of the pressing questions associated with the post-modern denial of the subject. Confronting it, we ask: how real are the personalities composing the multiplicity of this disordered self? What, in fact, does this multiplicity tell us about the self? about its genesis and status? What does it reveal about “our thought and consciousness in general”? I plan, in the short compass of this paper, to sketch some answers to these questions. §1. A brief description of MPD. The American Psychiatric Association gives two criteria for (MPD) multiple personality disorder. First, and most obviously, there is “the existence within the person of two or more distinct personalities or personality states (each with its own relatively enduring pattern. (shrink)

In a beautiful recent essay, the philosopher Walter Sinnott-Armstrong explains the reasons for his departure from evangelical Christianity, the religious culture in which he was brought up. Sinnot-Armstrong contrasts the interpretive methods used by good philosophers and fundamentalist believers: Good philosophers face objections and uncertainties. They follow where arguments lead, even when their conclusions are surprising and disturbing. Intellectual honesty is also required of scholars who interpret philosophical texts. If I had distorted Kant’s view to make him reach a conclusion (...) that I preferred, then my philosophy professor would have failed me. The contrast with religious reasoning is stark. My Christian friends seemed happy to hide serious problems in the Bible and in their arguments. They preferred comfort to intellectual honesty. I couldn’t. To what extent can we, historians of philosophy, claim the virtue of intellectual honesty? Speaking frankly, I do not find the practice criticized by Sinnot-Armstrong’s philosophy professor rare or unusual at all. We very frequently distort the views of past philosophers in order to reach the conclusions we prefer. We just call it “Charitable Interpretation.” In this essay, I discuss and criticize the logic behind so-called charitable interpretations in the history of philosophy. This phenomenon is ubiquitous and is not at all restricted to a particular philosophical strand or ideology. Analytic philosophers and post-modernists, Marxists, liberals, secularists, and fundamentalists, we all engage in the very same domestication project. Even more disturbing than the sheer ideological pervasiveness of this phenomenon is the fact that, on many occasions, superb philosophers and historians take part in this fairly childish endeavor. In the first part of this essay, I discuss the general logic of charitable interpretations in the history of philosophy, mostly by addressing discussions in metaphysics and epistemology. In the second part, I focus on the somewhat less noticed use of charitable interpretations in the study of political philosophy, and point out the quintessential role ideology plays in these discussions. In both parts, I concentrate mostly on the interpretation of Spinoza’s thought. I do so not because I have special fondness for Spinoza (“guilty as charged,” I admit), but because Spinoza is such a beast (and may I add, an enchanting beast) and attracts a disproportionate share of the domestication efforts from historians and philosophers of all creeds and persuasions. In the third and final part of the paper, I will begin to outline an alternative methodology, which suggests that past philosophers can be most relevant to our current philosophical discussion, to the extent that they provide us with well-motivated challenges to our common-sense beliefs. Such challenges have the invaluable virtue of being able to undermine our most fundamental and secure beliefs, and force us to engage with the most fundamental questions. What more can we expect from good philosophy? (shrink)

Gilles Deleuze was born in 1925, and died by his own hand 70 years later. He taught philosophy in the French lycée system, at the University of Lyon, and then—after the institutional fragmentation that was the government‟s response to the student-driven near-revolution of 1968—at the University of Paris VIII (Vincennes). Although his work is only now coming to prominence in the Anglophone world, he has achieved great notoriety in France: he is widely credited with inaugurating the post-structuralist movement with (...) his 1962 Nietzsche and Philosophy, as well as with providing its definitive text, the 1972 Anti-Oedipus (co-written with Félix Guattari). His colleague and friend, Michel Foucault, has gone so far as to suggest that 'perhaps one day this century will be known as Deleuzian'. (shrink)

Finding truth is an art that was learned and unlearned. Truth can only be found by looking for independent confirmation of our beliefs, by reality. This methodology is difficult to apply in personal- and social settings, because power and politics turn 'seeking independent confirmation' into 'avoiding dependent rejection'. A completely different social order is implied and the one keeps running the other into the ground like a tectonic plate. Philosophical Modernism showed us how dualism works, before Post-Modernism (...) challenged it, regressing to monism. (shrink)

The idea this article relies on is that we should rethink cultural distance between modernism and post-modernism. We can no longer support the thesis of a radical break between the two cultural periods since many of the changes that have marked our contemporary world were initiated or at least announced in the modern period. Besides the cultural and epistemic factors, the socioeconomic conditions have also contributed to shape a new sensitivity and a new outlook. One of the (...) major contributions to this change was the replacement of the epistemic pedestal - oriented toward the metaphysical knowledge of the world - with a kind of knowledge inspired by the model of sciences which determined the understanding of the world as a „standing-reserve" (Heidegger). Thus, we speak about a techno-world, which is not merely a consequence of our way of interacting with our fellow beings or the environment. It is also a consequence of our wayof creating reality. The post-humanist approach of the man - similarly to modern utopias - considers technology the main means of improving human condition. Furthermore, we need to see in post-humanism the hope of rethinking humanity in a world growingly devoid of spiritual values. (shrink)

This article examines the controversy that has arisen concerning the interpretation of Immanuel Kant's account of European colonialism. One the one hand there are those interpreters such as Robert Bernasconi who see Kant's account as all of a piece with his earlier views on race which demonstrate a certain narrow mindedness in relation to black and coloured people and, on the other hand, there are those such as Pauline Kleingeld and Allen Wood who argue that the earlier writings on race (...) are not wholly typical of Kant's approach and suggest that Kant's later discussions of colonialism in Perpetual Peace and the Metaphysics of Morals provide a better indication of Kant's progressive views on the treatment of non-European societies. The article draws attention to the very strong evidence of Kant's dislike for the pattern of European expansion to other parts of the globe and indicates that within Kant's writings there are the seeds of a wholly unconventional critical understanding of western colonialism that have yet to be developed fully. The article suggests that this critical understanding surpasses the unsystematic objections made to colonialism in post - modernist thought and also the critique proffered by the determinist Marxist account. (shrink)

I respond to a hypothetical critique of sport, drawing on primarily post-modernist sources, that would view the high performance athlete in particular as a product of the application of technical disciplines of power and that opposes sport and play as fundamentally antithetical. Through extensive discussion of possible definitions of play, and of performance, I argue that although much of the critique is valid it confuses a method of sport for the whole of it. Play is indeed a noncompellable spontaneity, (...) but one that involves the improvisational transformation of the technical skills of a sport within the context of a dynamic situation. Technique is a condition of heightened play; it does not produce it. This also means that the best play is not undisciplined. Play and sport can exist apart, but both are better combined. (shrink)

Despite Lyotard’s proclaimed end of metanarratives in a post-modern predicament, metanarratives appear to be making a comeback. This is the case for antinatalism, a relatively recent ideological formation or moral philosophical perspective that has spawned a new social movement with an active presence in social media. The organizational and structural aspects of NSMs render them amenable to being labeled as ‘post-modern’. In this context, the emergence of ideologies as moral philosophies, such as antinatalism, loom like an outsider, or (...) like a retro fissure in a plastic canvass. The reason is that antinatalism shares the holistic, fundamentalist and totalizing discursive traits of modernist metanarratives that were heralded by Lyotard (1984) as being outmoded in a post-modern condition. Yet, this metanarrative is also different in fundamental aspects from traditional metanarratives. These aspects pertain to its rhetorical self-reflexivity and to its pre-occupation with rooting the propounded arguments in empirical particulars, rather than in a metaphysical or transcendentalist realm. This new form of metanarrative I call metametanarrative as it constitutes a philosophical regression, so to speak, in a pre post-modernist cultural milieu. (shrink)

By definition, “logic of postmodernism" would appear to be a contradiction in terms: philosophic post¬modernism emerged as a critique of attempts to found philosophy on some principle of reasoning and to found reasoning on some formal guidelines for how we ought to think. Nonetheless, there are two reasons why Charles Sanders Peirce (1839-1914) ought to be labeled the logician of postmodernism — the philosopher who, more than any other, etched out the normative guidelines for postmodern thinking. The first (...) reason is that Peirce attempted to accomplish the impossible, or at least the contradictory. He launched his philosophic career with a logical critique of "Cartesianism" — his label for the modernist attempt to found philosophy on some formal principles of reasoning. He then attempted to replace the principles of Cartesian reasoning with a set of anti-modernist principles that proved themselves to be as modernist as their contraries. The second reason for giving Peirce his label is that his failures to accomplish the impossible engendered in him something he was unable to achieve willfully: a habit of self-critical yet self-affirming thinking that was neither modernist nor anti-modernist but, rather, a disciplined variety of postmodern thinking. In his later years, Peirce began to sketch out the principles of philosophic postmodernism by describing features of his own emergent habit of thinking. This sketching comes close enough to what I would label a logic of postmodernism — where the method of logic is as postmodern as the thinking it describes. (shrink)

This brief monograph was written in an attempt to discover the general situation of Disability Studies, given that this appears to have become a growth area in academia with various typically illiberal aspects. The findings bear out the initial impression. There is a style of argument, even propaganda (for there is usually little genuine engagement with opposing liberal views), that can be seen in many other areas of academia. It amounts to a relatively new ‘progressive’ industry with various fashionable keywords, (...) phrases and ideologies—often not obviously related to disabilities in any serious way—indicating the nature of the beast: ‘progressive’, ‘radical’, ‘oppression’, ‘bourgeois’, ‘empowerment’, ‘rights’, ‘equal opportunities’, ‘discrimination’, ‘prejudice’, ‘citizenship’, ‘social justice’, ‘socially constructed’, ‘Marxism’, ‘Post Modernism’ and ‘Feminism’. The overall picture is that disability has become increasingly politicised along politically correct lines to the detriment of society as a whole and, eventually, even to the disabled themselves. This is largely caused by the endemic trahison des clercs in our tax-consuming and coercively monopolised university system. (shrink)

This book presents the author’s many and varied contributions to the revival and re-evaluation of American pragmatism. The assembled critical perspective on contemporary pragmatism in philosophy emphasizes the American tradition of cultural pluralism and the requirements of American democracy. Based partly on a survey of the literature on interest-group pluralism and critical perspectives on the politics of globalization, the monograph argues for reasoned caution concerning the practical effects of the revival. Undercurrents of “vulgar pragmatism” including both moral and epistemic relativism (...) threaten the intellectual and moral integrity of American thought – and have contributed to the present sense of political crisis. -/- The text chiefly contributes to the evaluation of the contemporary influence of the philosophy of John Dewey (1859–1952) and his late development of the classical pragmatist tradition. In comparison to Ralph Waldo Emerson (1803–1882), William James (1842–1910), and earlier currents of American thought, Dewey’s philosophy, dominated by its overall emphasis on unification, is weaker in its support for the pluralism of cultural and religious contributions which have lent moral self-restraint to American policy and politics, both foreign and domestic. With all due homage to Dewey’s conception of philosophy, centered on human problems and the need for our ameliorative efforts, the argument is that in the contemporary revival, Dewey’s thought has been too often captured by “post-modernist” bandwagons of self-promotion and institutional control. -/- This work defends democratic individualism against more collectivist and corporatist tendencies in contemporary neo-pragmatism, and it draws upon up-to-date political analysis in defense of America’s long republican tradition. Pragmatism will not and cannot be removed from, or ignored, in American intellectual and moral history; and its influence on disciplines from law to politics, sociology and literary criticism has been immense. However, pragmatism has often been weak in commitment to cultural pluralism and in its accounts of truth. (shrink)

Throughout history, suicide has evoked a remarkably broad range of reactions—from perplexity and condemnation, to glorification and empathy. Many have tried to understand this phenomenon through the lens of psychology, psychiatry, sociology, and anthropology, but much still seems to be amiss. A key factor in our current unprecedented mental health crisis is the undiagnosed impact of modernism and post-modernism; in other words, how has the loss of the sacred contributed to the present-day alienation from ourselves, each other, (...) and the earth? It is only through a fully integrated “science of the soul”—informed by metaphysics and the spiritual wisdom traditions of humanity—that we can, not only better understand suicide, but be properly equipped to avert tragic outcomes. (shrink)

Based on the argumentative analysis, the essential title is interpreted within its entitle as it leaves bias open 'along the lines' as to whether the January 6th insurrection that took place on Capitol Hill was or was not justified or unjustifiably ‘so’ by Jean-Jacques Rousseau’s right to revolution. Detailed evidence to support and prove such intended thesis stretches this theoretical statement as it gambles to reckon with a central paradoxical and unhumored tone that leaves the reader and/or author’s perspective to (...) be ‘centered’ (and left due to a play of ‘centeredness’). As it pertains to the fallout and outcome of how governmental, national, and militaral leadership (given the reality of a sovereign leader or a reign). Presentational style is constructed or structured oddly awakes uncontrollable, uncensored, unmeasurable, and untouchable personification that is nonstop. Such series of quoted citations are pieces of instruction that serve to admire and of acceptability in pursuit of Rousseauian logic as it poses a modest figurative language where its main objective is to attempt to underline the principles and techniques that plague post-modernists within the scope of legislative, executive, or even judicial systems of functionalities. (shrink)

This paper centers on the implicit metaphysics beyond the Theory of Relativity and the Principle of Indeterminacy – two revolutionary theories that have changed 20th Century Physics – using the perspective of Husserlian Transcedental Phenomenology. Albert Einstein (1879-1955) and Werner Heisenberg (1901-1976) abolished the theoretical framework of Classical (Galilean- Newtonian) physics that has been complemented, strengthened by Cartesian metaphysics. Rene Descartes (1596- 1850) introduced a separation between subject and object (as two different and self- enclosed substances) while Galileo and Newton (...) did the “mathematization” of the world. Newtonian physics, however, had an inexplicable postulate of absolute space and absolute time – a kind of geometrical framework, independent of all matter, for the explication of locality and acceleration. Thus, Cartesian modern metaphysics and Galilean- Newtonian physics go hand in hand, resulting to socio- ethical problems, materialism and environmental destruction. Einstein got rid of the Newtonian absolutes and was able to provide a new foundation for our notions of space and time: the four (4) dimensional space- time; simultaneity and the constancy of velocity of light, and the relativity of all systems of reference. Heisenberg, following the theory of quanta of Max Planck, told us of our inability to know sub- atomic phenomena and thus, blurring the line between the Cartesian separation of object and subject, hence, initiating the crisis of the foundations of Classical Physics. But the real crisis, according to Edmund Husserl (1859-1930) is that Modern (Classical) Science had “idealized” the world, severing nature from what he calls the Lebenswelt (life- world), the world that is simply there even before it has been reduced to mere mathematical- logical equations. Husserl thus, aims to establish a new science that returns to the “pre- scientific” and “non- mathematized” world of rich and complex phenomena: phenomena as they “appear to human consciousness”. To overcome the Cartesian equation of subject vs. object (man versus environment), Husserl brackets the external reality of Newtonian Science (epoché = to put in brackets, to suspend judgment) and emphasizes (1) the meaning of “world” different from the “world” of Classical Physics, (2) the intentionality of consciousness (L. in + tendere = to tend towards, to be essentially related to or connected to) which means that even before any scientific- logical description of the external reality, there is always a relation already between consciousness and an external reality. The world is the equiprimordial existence of consciousness and of external reality. My paper aims to look at this new science of the pre- idealized phenomena started by Husserl (a science of phenomena as they appear to conscious, human, lived experience, hence he calls it phenomenology), centering on the life- world and the intentionality of consciousness, as providing a new way of looking at ourselves and the world, in short, as providing a new metaphysics (as an antidote to Cartesian metaphysics) that grounds the revolutionary findings of Einstein and Heisenberg. The environmental destruction, technocracy, socio- ethical problems in the modern world are all rooted in this Galilean- Newtonian- Cartesian interpretation of the relationship between humans and the world after the crumbling of European Medieval Ages. Friedrich Nietzsche (1844-1900) comments that the modern world is going toward a nihilism (L. nihil = nothingness) at the turn of the century. Now, after two World Wars and the dropping of Atomic bomb, the capitalism and imperialism on the one hand, and on the other hand the poverty, hunger of the non- industrialized countries alongside destruction of nature (i.e., global warming), Nietzsche might be correct: unless humanity changes the way it looks at humanity and the kosmos. The works of Einstein, Heisenberg and Husserl seem to be pointing the way for us humans to escape nihilism by a “great existential transformation.” What these thinkers of post- modernity (after Cartesian/ Newtonian/ Galilean modernity) point to are: a) a new therapeutic way of looking at ourselves and our world (metaphysics) and b) a new and corrective notion of “rationality” (different from the objectivist, mathematico- logical way of thinking). This paper is divided into four parts: 1) A summary of Classical Physics and a short history of Quantum Theory 2) Einstein’s Special and General Relativity and Heisenberg’s Indeterminacy Principle 3) Husserl’s discussion of the Crisis of Europe, the life- world and intentionality of consciousness 4) A Metaphysics of Relativity and Indeterminacy and a Corrective notion of Rationality in Husserl’s Phenomenology . (shrink)

It might, at first sight, seem objectionable to compare Kant and Rorty in terms of their respective irony, for two reasons. First, usually, irony is not considered to be a striking stylistic feature in Kant, whereas it is a key concept in Rorty´s political philosophy. Second, Rorty's liberal ironist is the prototype of the edified individual in post-modern civil society who has overcome metaphysics of both realms: nature and morals. It just is proposed as a remedy against all forms (...) of political foundationalism. However, in his minor political works of the 90s, Kant´s style is marked by his use of irony. Irony performs several functions: it is a polemic device, a means of persuasion, and a safeguard against those who might otherwise take his critical appreciation of political custom too personal. Moreover, Kant's political foundationalism is intertwined with his philosophy of history. Arguably, Kant treats the contingency of historic events with due regard and, hence, his political outlook must not be considered to be vindicatory. Irony, therefore, might, though seemingly un-Kantian at the outset, be a clue to the differences, and, perhaps, in contrast with Rorty´s distancing himself from Kant, similarities between their respective political philosophies. A comparison of Kantian with Rortian irony might thus reveal continuities and discontinuities in political thought between the European Enlightment and American post-modernism. It, therefore, might help to better understand our time. In my paper, I perform a contrastive analysis of these two faces of irony. The analysis starts with an interpretation of these two faces as different ways to cope intellectually with the vicissitudes of the human condition. Next, I relate their irony to the way both philosophers deal with the split between the private and the public spheres, which is, in different ways, central to their political philosophies. This analysis will provide the material for an assessment of whether or not their irony can be considered as an evasive move, which allows for a safe distance from the contingent needs of mankind, and thus prohibits or supports solidarity with its fate. (shrink)

In the contemporary anthropological discourse, the general subjects of temporality and aesthetics, as form of cognition, turn out to be the neuralgic points through which the question of the human existence is considered in many approaches to human being (cognitive, ethical, ontological or theological). In the philosophical system of the French post-modern thinker Jean-François Lyotard (1924-1998) these two issues are deeply interlaced leading to new and original solutions of the above-mentioned question. The aim of the contribution is to reconstruct (...) the interconnection between temporality and aesthetics in the thought of this philosopher showing Lyotard’s aesthetic structures of temporality as a central contribution to the post-modern subjectivity theory. (shrink)

From antiquity to date, communal clashes, inter tribal even to global crisis of war is antecedented by penetration of ill-will, unfair sharing formula of human and natural resources by a privileged few resulting in high social, economic and political acrimony hence, the growing calls to reframe the politics of poverty reduction and social protection in particular, in terms of extending the ‘social contract’ to the poorest groups as people are getting increasingly aware of injustice. This premise is on the widening (...) gap between the rich and poor on daily bases. With the increase of awareness, knowledge, technology and the advent of post-modernist era, the quest for social justice has heightened. Even communism and democracy attempt to offer social justice to its natives. Communism states that humans are free to engage in any kind of occupation and express ourselves freely without government interference, unlike the alienated labour society of the capitalist industry: this for communism is social Justice, while democracy thinks equality before law and power to its natives is social justice. All through the era of Philosophy, Philosophers differ on the definition, and what constitute social justice. Until now, there is no unifying explanation on what social justice is and consists of. This paper tends to look into the history of social Justice and different philosophers from different epochs. It also tried to expose the problems inherent in the definition and what constitute social justice, and cautioned that complimentary imperative should be employ to curtail human egoistic tendency that aids social injustice. (shrink)

The title of the book was chosen due to inspiration from Nietzsche’s famous book ‘Beyond good and Evil’, which has marked an unprecedented turning point in the history of philosophy. Hence, the book titled ‘Beyond Civilization and History’ is intended to outline the politico-historical debate, since the dawn of the 20th century. The discussion in the book will cover pre-modern, modern and post-modern discourse of the history of civilizations. The debate mainly focuses on the modernist and post-modernist historical (...) context especially surrounding the writings of Oswald Spengler, Norman Angell, Arnold J. Toynbee, and Alexander Dugin. (shrink)

-/- ABSTRACT: The concept of beauty has been central to the understanding of Aesthetics, but most modern scholars examine and celebrate Aesthetics presupposing that beauty exists in this Universe, and that by merely being patrons and proponents of art, they can exercise their metaphysical-value judgment however they feel is fulfilling. Contemporary artists fail to realize the etiology and phenomenological value of beauty. The perfect exemplification of this can be seen in the veritable themes and allegories of Postmodernism. The fetishistic penchant (...) of Post-structuralists and Post-modernists has made the treatment of art and literature destructively convoluted and obfuscated, and offers infinite leeway for analysis of any kind. The trite adage ''Kill the writer’’ has been grossly misused and misidentified. Having said that, this essay also does not aim to blindly ridicule Postmodernism, and It will be apparent from the tone of the essay that I myself subscribe to the incontrovertible absolutism that Postmodernism offers, but only in the sense of axiom and logic. I, however, do not value and extol the senseless plurality and verbosity of non-analytical assessment that is ubiquitously pronounced in Postmodern content. (shrink)

The production of sound by the machinery of change is a viral element in the problems of civilization. Conceptual historical paradox involving mind and matter as the recurring source of the problems of civilization is elaborated to expose a space reducing friction residing at the border of conceptual and empirical interpretation involving cause and effect rather than physical form. A visually based mathematical-physical form, is elaborated and discussion, based on a philosophy of motion, volume and processes that is indivisible, unmoved (...) by the willed power of the discourse, is evolved in an analogy to interpreted ancient mathematics of Euclid. (shrink)

The quest for more holistic forms of treatment and healing in modern psychology has been provoked by its sole focus on the management of symptoms. This has led to an alarming rise in the use of psychedelic substances. Yet the true cause behind these maladies of the mind is the burgeoning ‘crisis of meaning’ that we find in the world today. This largely undiagnosed predicament has led to religion being supplanted by psychology, and to the realm of the psyche becoming (...) confused with that of the spiritual. Modern societies have clearly lost a sense of the sacred. To the extent that we fail to see this, the use of entheogens will never be able to replace a true “science of the soul,” which offers a more satisfying conception of reality, and a fuller understanding of what it means to be human. In this way, we may discover a properly integrated approach to healing that is grounded in the deeper wisdom to be found in the world’s time-honored spiritual traditions. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the entire (...) range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

Book Reviews Mehmet Karabela, Dialogue: Canadian Philosophical Review/Revue canadienne de philosophie, FirstView Article.

In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...) evolutionary selection pressure. The most arguable and interesting expression of this point of view is that which says that the human mind is more like a Swiss army knife than a general-purpose computer or sponge for information. Our minds are modular. First propounded by Jerry Fodor, the idea was taken up by evolutionary psychologists and fleshed out with a history. Evolution has given us cognitive modules, partly self-contained mental “machines” that are attuned to solving problems with a narrowly defined domain. Darwinian evolution has shaped our minds in particular ways that fundamentally affect our evaluation of everything we perceive and therefore our appreciation of art. I draw out a surprising implication of combining the modular view with evolution: that our aesthetic standards may, to some extent, be fragmented and not quite as universal as held by the orthodox defence of classical art. (shrink)

This chapter is devoted to the discussion of religious freedom and the anti-racist fight in the Black Diaspora in Latin America, considering the historical processes that involve such discussion, including legal apparatus such as Human Rights and local legislation. Therefore, as a starting point, we take the historical conditions of the emergence of Candomblé in Brazil, that are linked to the trafficking of enslaved African peoples and their resistance to keep alive in their memories, their religious beliefs and their worldviews. (...) Wherefore, it is a discussion in which religious freedom is not dissociated from the anti-racist struggle in the case of Brazil, where, in the 20th century, the myth of racial democracy is produced in the light of studies carried out by Gilberto Freyre in the midst of the 1922 post-week modernist movement. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with (...) industrial technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Fred Polak’s futurology takes up where F. W. Schelling’s claims about the ‘modern mythology’ leaves off. Linking these, I argue Art and humanity’s joint meaning crisis originates in ‘symbolic idealism’, de-futurising both and crippling humanity’s attempts to develop a proper internal ‘narrative order of goods’ needed for our survival. Polak’s tracing of how various forms of Expressionism emerged from Impressionism in later modernism, transforming our images of reality and the future, vindicates Schelling’s earlier claims that our symbolic mode of (...) ‘worlding’ creates a materially positivistic idea of progress. And our modern repurposing of art has produced what Polak calls a disorienting ‘false and deluded realism’ partly responsible for the counter-utopian, post-humanist tendencies prevalent today in both the East and West. (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)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

The various ways whereby spatial conditions afford to monumentalize culture and to appropriate geographically demarcated places in terms of individual and collective meaning structures has been amply documented in urban cultural studies. However, considerably less attention has been paid to how cultural identity is produced against the background of musical temporality. By way of a phenomenological inquiry into the staged spectacle of James Corden’s (the host of CBS Network’s Late Late Show) Carpool Karaoke, this paper addresses the issues of directly (...) lived experience and authenticity as facets of cultural identity. By critically discussing the assumptions of self-presence and auto-affectivity while singing and listening to one’s sung voice against the background of pre-recorded songs, the notion of directly lived musical experience is put to the test. Furthermore, by examining the dramaturgical scaffolding of Carpool Karaoke, the analysis points to wider implications for post-modern cultural studies in terms of an identified ironic reversal of modernist universal criteria of legitimacy in favor of a celebration of postmodern being-with inauthentically. The analysis of the selected Carpool Karaoke corpus utilizes a resourceful blend of phenomenological method, semiotics and interpretive videography while challenging embedded orthodoxies in the extant literature. (shrink)

Architecture often relies on mathematical models, if only to anticipate the physical behavior of structures. Accordingly, mathematical modeling serves to find an optimal form given certain constraints, constraints themselves translated into a language which must be homogeneous to that of the model in order for resolution to be possible. Traditional modeling tied to design and architecture thus appears linked to a topdown vision of creation, of the modernist, voluntarist and uniformly normative type, because usually (mono)functionalist. One available instrument of calculation/representation/prescription (...) orders this conception of architecture: indeed the search for an optimal solution through mathematical calculation of a model itself mathematical, thus homogeneous and simple, is only possible when one or two functions or functional constraints are formulated, never more, and this, on a global level, therefore starting from a unique and homogenizing viewpoint. It is essential to grasp that, even applied to material and its properties or towards a particular esthetic or functional dimension, this viewpoint is thus abstractive and generalizing: disregarding singularity of context, insertion and relationship to the environment or local, social behavior. It leaves aside functional specificity and heterogeneousness – re-contextualized each time – of functions that the object or edifice are required to fulfill and optimize under diverse constraints, in their different parts. The computational turning point today’s digital design and computational architecture embody modifies these instrumental, original prescriptions, rendering them more flexible. Perhaps in light of this turnabout we should retrospectively interpret 20th century calls for modernism, functionalism and even biomorphism as being just as many ex post rationalizations in respect to techniques of strongly prescriptive modeling since our only instrument is a monolithic language, and so being, incites a top-down conception, (naturally weakly reactive to contexts), including forms whose overall appearance resembles in fine a living form. In order to liberate oneself from this and despite everything, emerge as its initiators, one has constructed from ideology and philosophy (of object, habitat, the urban) ex post, even while it is the instrument of modeling and conception that largely determines, normalizes and dictates ex ante, the possibilities and limitations of the creation of forms and living experiments4 in a given time. (shrink)

An account of two sources of the "minimal global ethic," one interpretive and the other creative. Humour, more specifically slapstick, is the interpretive source, while "revelation" as present in both Rabbinic Judaism and Modernism is the creative source. The question of the ethic and conflict is then briefly discussed. This version, posted 22 January 2023, is a revised form of the chapter from the book published in 2009.

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

This book is a personal answer to the crisis of the left. The author of this text belongs to a generation habituated to live with global explanations. During our youth, the future of the world was the future of democracy and socialism. We belong to a generation of “leftist” that found in Marx and Freud, phenomenology and structuralism the most important answers that made sense of the everyday world. However, the developments of events during the last sixty years showed that (...) our confidence was ungrounded. The depreciation of the theoretical thought accelerated in direct proportion to the development of technologies, and among them the impact of the digital developments was devastating. One of the most notable consequences of the digitalization of culture was the depreciation of the Marxian thought, but also the less recognized depreciation of all kinds of political-economic thought. The collapse of the world created before the Second World War open for the end of the “grand narratives” and the enthronization of Postmodernism. The production of fragmentary explanations took over the historical perspective with an important influence on social and economic thought. After 60 years of postmodern thinking, we believe that the time of Postmodernism is over. Politicians and economists over the world cannot continue to produce results in small packages. The whole picture must be restituted. Of course it must be done incorporating the lessons of the past to avoid to make the same mistakes. Postmodernism has left behind lots of scattered modernist philosophical remnants. It left a chessboard with only few pieces to work with, and in this allegory, only as references. The philosophical schools remains, but the study of them is strictly for an education in the history of ideas. The situation is aggravating since the most important works from the 1960’s and forth, (post-structuralists) deliberately have avoided obvious identity patterns. A word in Rio de la Plata’s jargon language describes this situation, cambalache, a sort of “flea market” where everything lies higgledy-piggledy. Deconstruction and the focus on differences are vital to Postmodernism. Remaining is therefore the intersections, the contrasts, shadows, and sketches. When trying to orient in such an intellectual environment, the task reminds of patching scatterings, and building with tools of eclecticism. However, we believe that is time to reconstruct instead of deconstruct, moving back to Modernism that we will describe as Cyborgism. (shrink)

Recently there is a renewed academic interest in religion bringing it back on the global political agenda. Religion in the post modern global order is fast emerging as a new organizing principle in the face of multi-polarity, trans-nationality and sweeping pluralisation of peoples. Contrary to the secularist self believe, the modern has failed to take over the tradition including religion. Rather a logical opposite seems to be happening, questioning the very presumptions of the modernity project. The present paper is (...) a narrative on this creative tension in the religious modern and post modern. The paper is crafted into four sections. First section seeks to pin down the genesis of “religious” in the search for social order and consciousness beyond the material world. Second section deals with the unfolding of enlightenment project and its manifest consequence with the birth of secularism master theory. Third section delves deep into the immediate Indian religious lived experiences under foreign rule up to the sweeping spell of globalisation. Fourth and last part of the essay makes a case for universality of a multicultural world and religious secularism. (shrink)

This paper explores the notion of the self as one of the main obstacles in advancing neuroscience. Some folks argue for strict naturalism in order to study the brain objectively. However, in this process of naturalization, we run the risk of losing key components that make up our experience as human beings, namely emotions, ideas, and values. Therefore, I argue for moderate naturalism in an attempt to reconcile with the self. I reference Immanuel Kant’s moral law theory in order to (...) discuss the ethical implications of following a moderate naturalist view of the self in advancing neuroscience. (shrink)

In this paper I argue that Miranda Fricker’s account of blame in “What’s the Point of Blame? A Paradigm Based Explanation” can assist in explaining why cancel culture is ultimately unproductive. In particular, the phenomenon of cancel culture possesses pathological forms of blame. There are three specific pathologies outlined by Fricker that can be observed in cancel culture. They are as follows: cancel culture does not leave room for people to learn from their mistakes, it does not express its blame (...) in the proper ethical register, and cancel culture allows for blame to fester and spread. In the first half of my paper, I will lay out the distinct aspects of Fricker’s paper that relate to cancel culture and a definition of the term cancel culture. In the second half, I will explore the real-life cancelation of actor Lea Michele so as to validate the presence of cancel culture in our society today. Furthermore, I will expand on three of Fricker’s pathologies that are present in cancel culture and refute a counter argument people may pose who are supportive of cancel culture. (shrink)

A SECOND COMPLETELY REVISED EDITION OF THIS TEXTBOOK ON INTERDISCIPLINARY RESEARCH WAS PUBLISHED WITH AMSTERDAM UNIVERSITY PRESS IN 2022. Check out that version here and a PDF of its ToC and Introduction, as this first edition (AUP 2016) is no longer available. [This book (128 pp.) serves as an introduction and manual to guide students through the interdisciplinary research process. We are becoming increasingly aware that, as a result of technological developments and globalisation, problems are becoming so complex that they (...) can only be solved through cooperation between multiple disciplines. Healthcare, climate change, food security, energy, financial markets and quality of life are just a few examples of issues that require scientists and academics to work in a crossdisciplinary way. As a result of these developments, an interdisciplinary approach is becoming increasingly popular in higher education and must be considered an absolute necessity. Young academics are being called on to step beyond the boundaries of traditional disciplines in order to contribute to addressing fundamental problems and solving challenges facing society. There is a need for people who are not afraid to ask critical questions, who can work together well and can look beyond the boundaries of their own field. This means students need to learn more about how they can integrate and apply knowledge, methods and skills from different fields. Interdisciplinary research projects and practical training courses offer students more than one perspective on the same subject. Comparing and contrasting, connecting, adding and adapting concepts, theories and methodologies from different disciplines ultimately results in new insights and better answers to complex problems.]. (shrink)

The paper Post-Trial Acces To Treatment (PTA) offers an insight into current corporate policies and corporate best practices relating to the provision of PTA in low and middle income countries based on company sources. In these countries there is a greater appeal for pharmaceutical companies to take responsibility for providing PTA. However, the practice of providing PTA is the exception rather than the rule.