This paper argues for a new understanding of Strawson’s distinction between personal, impersonal, and self-reactive attitudes. Many Strawsonians take these basic reactive attitude types to be distinguished by two factors. Is it the self or another who is treated with good- or ill-will? And is it the self or another who displays good- or ill-will? On this picture, when someone else wrongs me, my reactive attitude is personal; when someone else wrongs someone else, my reactive attitude is impersonal; and when (...) I wrong someone else, my attitude is self-reactive. Against this account, I argue that the basic reactive attitude types are better distinguished according to whether they express partial or impartial concern. This fits Strawson’s discussion in “Freedom and Resentment”, and it allows us to see an important point that the alternative approach obscures. Namely, while attitudes like resentment, gratitude, shame, and pride can arise as responses to our own treatment and behavior, they can also arise as third-party responses to the treatment and behavior of our family members, romantic partners, and close friends. Similarly, attitudes like moral indignation and disapprobation also have a wider scope than is often acknowledged; they can arise as responses to others’ treatment, but they can also arise as responses to our own treatment when we react impartially to circumstances involving ourselves. (shrink)

This paper challenges a common dogma of the literature on forgiveness: that only victims have the standing to forgive. Attacks on third-party forgiveness generally come in two forms. One form of attack suggests that it follows from the nature of forgiveness that third-party forgiveness is impossible. Another form of attack suggests that although third-party forgiveness is possible, it is always improper or morally inappropriate for third parties to forgive. I argue against both of these claims; third-party forgiveness is possible, and (...) in some cases it is morally appropriate for third parties to forgive (or refuse to forgive) wrongdoers for wrongs done to victims. I also propose an explanation of third parties’ standing to forgive: third parties have the standing to forgive when it is appropriate for them to take wrongs done to victims ‘personally’. While appropriately ‘taking a wrong personally’ does not require seeing oneself as a victim, it typically does require being in some form of personal relationship with victims. Thus, while the standing to forgive is not grounded exclusively in having been wronged, the prerogative to forgive is normally limited to victims and their loved ones. And once we recognize the importance of third-party forgiveness in our moral lives and the norms that govern it, we can more easily adjudicate between competing accounts of the nature of forgiveness.​. (shrink)

Most interpreters hold that Kant rejects actually infinite tota synthetica as conceptually impossible. This view is attributed to Kant to relieve him of the charge that the first antinomy’s thesis argument presupposes transcendental idealism. I argue that important textual evidence speaks against this view, and Kant in fact affirms the conceptual possibility of actually infinite tota synthetica. While this means the first antinomy may not be decisive as an indirect argument for idealism, it gives us a better account of how (...) our ideas of the unconditioned generate the antinomies, and it allows us to see important and often overlooked elements in Kant’s account of the infinite. (shrink)

Contents: Introduction / Naïve Logicism / Restricted Logicism / Metaphysics (Early, Middle, Late) / Knowledge (Early, Middle, Late) / Language (Early, Middle, Late) / The Infinite.

Famously, Kant describes space and time as infinite “given” magnitudes. An influential interpretative tradition reads this as a claim about phenomenological presence to the mind: in claiming that space and time are given, this reading holds, Kant means to claim that we have phenomenological access to space and time in our original intuitions of them. In this paper, I argue that we should instead understand givenness as a metaphysical notion. For Kant, space and time are ‘given’ in virtue of three (...) related facts: (i) they are necessary grounds of the existence of all other spatial and temporal possibilities; (ii) in virtue of being such grounds, they are metaphysically linked to all other represented spatiotemporal things; and (iii) as representations, space and time issue from the nature of our faculty of sensibility rather than from an arbitrary act of choice. Understanding givenness in this non-epistemological way helps us recover what is plausible in both ‘intellectualist’ and ‘anti-intellectualist’ readings of the Transcendental Aesthetic. Anti-intellectualists are correct that space and time are given in mere sensibility, but intellectualists are correct that we depend on the understanding for consciousness of space and time. (shrink)

Very soon after Philippa Foot’s death, there was a flood of newspaper obituaries and ‘posts’ on blogs referring to her as one of the greatest moral philosophers of the twentieth century. She was also, though very few of the writers were in a position to say so, a particularly loyal Somervillian. She read PPE at Somerville during the war, started teaching there after war work in London in 1947, became its first Philosophy Tutorial Fellow in 1949, Vice Principal in 1967, (...) and, although she resigned her Fellowship in 1969, she retained, as a Senior Research Fellow and then Honorary Fellow, very close links with the College and Somervillians, past and present, until the end. (shrink)

PHILIPPA RUTH FOOT was born on 3 October 1920, the second daughter of William Bosanquet, who had done mathematics at Cambridge and became the manager of a steelworks in Yorkshire, and Esther Cleveland, daughter of President Grover Cleveland. She was educated mainly at home in the country by governesses, and not well. She said, many years later, that, ‘unsurprisingly’, she had been left ‘extremely ignorant’, and when the last one, ‘who actually had a degree’, suggested to her that she should (...) go to Oxford, she had to work for it. She spent a year with an established Oxford entrance coach and took a correspondence course to acquire the necessary entrance Latin; the result was a place at Somerville College, where she went to read Philosophy, Politics and Economics (PPE) in 1939. (shrink)

The recent emergence of machine-manipulated media raises an important societal question: How can we know whether a video that we watch is real or fake? In two online studies with 15,016 participants, we present authentic videos and deepfakes and ask participants to identify which is which. We compare the performance of ordinary human observers with the leading computer vision deepfake detection model and find them similarly accurate, while making different kinds of mistakes. Together, participants with access to the model’s prediction (...) are more accurate than either alone, but inaccurate model predictions often decrease participants’ accuracy. To probe the relative strengths and weaknesses of humans and machines as detectors of deepfakes, we examine human and machine performance across video-level features, and we evaluate the impact of preregistered randomized interventions on deepfake detection. We find that manipulations designed to disrupt visual processing of faces hinder human participants’ performance while mostly not affecting the model’s performance, suggesting a role for specialized cognitive capacities in explaining human deepfake detection performance. -/- . (shrink)

Books reviewed: Rosalind Hursthouse, On Virtue Ethics.

Tarihin nesnel olarak yazılamayacağının fark edilmesinin ardından bilim tarihi yazımında da bazı dönüşümler olmuştur. Bu değişiklikler genellikle olumlu olsa da bazı tarih yazımı tartışmaları bilim tarihi metinlerine yeterince yansımamıştır. Bu yazıda Rosalind Franklin örneği üzerinden kadın bilimcilerin bilim tarihinde nasıl ele alındığını tartıştım. Kadınlara bilim tarihinde hak ettikleri yeri verme çabamız sırasında bilim tarihçileri olarak nelere dikkat etmemiz gerektiğini ele aldım. Özellikle vurguladığım noktalar bilimsel araştırma biçimlerinin doğru yansıtılması, kurumsal ayrımcılıkların üstünün örtülmesinden kaçınılması ve ele alınan figürün bilime katkısının (...) açıkça yazılması oldu. Yazıda Franklin hakkındaki literatüre bir katkı sunmayı amaçladım ancak daha da önemlisi Franklin başta olmak üzere kadın bilimciler hakkındaki metinlerde sık yapılan hatalara işaret etmek istedim. -/- Following the realization that history cannot be written objectively, there have been some transformations in the historiography of science. Although these changes are generally positive, some historiography debates have not been adequately reflected in historical texts on science. In this article, I discussed how women scientists are represented in the history of science through the case of Rosalind Franklin. In our effort to give women the place they deserve in the history of science, I have discussed what should we pay attention to as historians of science. My particular emphasis was on reflecting the structure of scientific research correctly, avoiding covering institutional discrimination and clearly writing the contribution of the figure discussed to science. I intend to make a contribution to the literature on Franklin, but more importantly, I tried to point out some common mistakes in texts about women scientists, especially Franklin. (shrink)

My aims are exegetical rather than critical: I offer a systematic account of Hursthouse's ethical naturalism with an emphasis on the normative authority of the four ends, and try to correct some misconceptions found in the literature. Specifically, I argue that the four ends function akin to Wittgensteinian hinge-propositions for our practice of ethical reasoning and as such form part of a description of the logical grammar of said practice.

The central argument of this article is that the standard conception of character given in virtue theory, as exemplified in the work of Rosalind Hursthouse, is seriously flawed. Partially, this is because looking behind a moral action for a ‘character’ is suspiciously akin to looking behind an object for an ‘essence’, and is susceptible to the same interpretive errors as an epistemic strategy. Alternately, a character—once inducted and projected upon a moral agent—is supposed to be a more or less (...) permanent property of that individual; a schema which leaves little room for the real possibility of personal transformation. I argue here that what is often referred to in virtue literature as ‘character’ can be productively re-described as the aggregate of all moral actions performed by any one moral agent: nothing more, and nothing less. My hope is that this interpretive strategy will result in broader and more coherent readings of moral actions, and thus also clarify moral confusion resulting from the current lack of the same. (shrink)

Virtue ethics has been dogged by the objection that it lacks the ability to provide adequate action-guidance, that it is agent-centered rather act-centered. Virtue ethics has also been faulted for devolving into moral cultural relativism. Rosalind Hursthouse has presented an action-based, naturalistic theory of virtue ethics intended to defuse these charges. Despite its merits, I argue that Hurthouse’s theory fails to successfully solve the problems associated with action guidance and relativism precisely because her attempt to provide a non-cultural basis (...) for virtue ethics undermines the possibility of using virtue ethics to derive useful action-guidance. The action-guiding power of virtue is derived from culture; seeking to avoid the cultural grounding of virtue merely brings one back to the problem of how virtue ethics can provide action-guidance. (shrink)

According to Rosalind Hursthouse’s virtue based account of right action, an act is right if it is what a fully virtuous person would do in that situation. Robert Johnson has criticized the account on the grounds that the actions a non-virtuous person should take are often uncharacteristic of the virtuous person, and thus Hursthouse’s account of right action is too narrow. The non-virtuous need to take steps to improve themselves morally, and the fully virtuous person need not take these (...) steps. So Johnson argues that any virtue based account of right action will have to find a way to ground a moral obligation to improve oneself. This paper argues that there is an account of virtue that can offer a partial solution to Johnson’s challenge, an account where virtue is a type of practical skill and in which the virtuous person is seen as having expertise. The paper references the account of skill acquisition developed by Hubert and Stuart Dreyfus. Their research demonstrates that novices in a skill have to employ different strategies to act well than the strategies used by the experts, and so the ‘virtue as skill’ thesis provides support for Johnson’s claim that the actions of the non-virtuous will differ from the virtuous. On the other hand, their research suggests that there is no separating the commitment to improve yourself from the possession of expertise, and so the ‘virtue as skill’ thesis has the resources for grounding the obligation to improve oneself in an account of virtue. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their (...) account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

It is commonly assumed that Aristotle's ethical theory shares deep structural similarities with neo-Aristotelian virtue ethics. I argue that this assumption is a mistake, and that Aristotle's ethical theory is both importantly distinct from the theories his work has inspired, and independently compelling. I take neo-Aristotelian virtue ethics to be characterized by two central commitments: (i) virtues of character are defined as traits that reliably promote an agent's own flourishing, and (ii) virtuous actions are defined as the sorts of actions (...) a virtuous agent reliably performs under the relevant circumstances. I argue that neither of these commitments are features of Aristotle's own view, and I sketch an alternative explanation for the relationship between virtue and happiness in the Nicomachean Ethics. Although, on the interpretation I defend, we do not find in Aristotle a distinctive normative theory alongside deontology and consequentialism, what we do find is a way of thinking about how prudential and moral reasons can come to be aligned through a certain conception of practical agency. (shrink)

Among the lessons Rosalind Hursthouse has taught us is to consider the quotidian contexts, such as childrearing, that prove so important (and yet, in philosophical writing, so often neglected) for understanding the place of the ethical virtues in human life. I attend to examples drawn from childrearing in order to explore a role pride appears to play in the acquisition of ethical virtue, an exploration that puts Philippa Foot’s remarks about the emotion of pride in conversation with Hursthouse’s thoughts (...) about virtue. I do so with the aim, ultimately, of interrogating the Aristotelian metaphor of megalopsuchia as a crown of the virtues. Whereas Aristotelian pride adorns virtue fully achieved, on my view pride serves the virtues as a tool to be stored away once its use no longer is needed. In one respect, however, my account of pride hews more closely to Aristotle’s views: Aristotle famously argued that shame, although not itself a virtue, played an indispensable role in the proper education of the young; I defend a similar role for pride. (shrink)

Among the lessons Rosalind Hursthouse has taught us is to consider the quotidian contexts, such as childrearing, that prove so important (and yet, in philosophical writing, so often neglected) for understanding the place of the ethical virtues in human life. I attend to examples drawn from childrearing in order to explore a role pride appears to play in the acquisition of ethical virtue, an exploration that puts Philippa Foot’s remarks about the emotion of pride in conversation with Hursthouse’s thoughts (...) about virtue. I do so with the aim, ultimately, of interrogating the Aristotelian metaphor of megalopsuchia as a crown of the virtues. Whereas Aristotelian pride adorns virtue fully achieved, on my view pride serves the virtues as a tool to be stored away once its use no longer is needed. In one respect, however, my account of pride hews more closely to Aristotle’s views: Aristotle famously argued that shame, although not itself a virtue, played an indispensable role in the proper education of the young; I defend a similar role for pride. (shrink)

Since the 1970s, at least, and presumably under the influence of the later Wittgenstein, certain advocates of Aristotle’s ethics have insisted that a proper validation of the virtues of character must proceed only from within, or be internal to, the particular evaluative outlook provided by possession of the virtues themselves. The most influential advocate of this line of thinking is arguably John McDowell, although Rosalind Hursthouse and Daniel C. Russell have also more recently embraced it. Here I consider whether (...) a distinction between the ‘substantive virtues’ and the ‘virtues of will power’ ultimately threatens that way of thinking about Aristotle’s ethics. If so, it would encourage a different reading of Aristotle’s ethics, one that McDowell has described as a “historical monstrosity”. (shrink)

Does possessing some human virtues make it impossible for a person to possess other human virtues? Isaiah Berlin and Bernard Williams both answered “yes” to this question, and they argued that to hold otherwise—to accept the harmony of the virtues—required a blinkered and unrealistic view of “what it is to be human.” In this essay, I have two goals: (1) to show how the harmony of the virtues is best interpreted, and what is at stake in affirming or denying it; (...) and (2) to provide a partial defense of the harmony of the virtues. More specifically, I show how the harmony of the virtues can be interpreted and defended within the kind of Aristotelian naturalism developed by philosophers such as Philippa Foot, Rosalind Hursthouse, and Michael Thompson. I argue that far from being an embarrassing liability for Aristotelianism—based in an “archaic metaphysical biology”—the harmony thesis is an interesting and plausible claim about human excellences, supported by a sophisticated account of the representation of life, and fully compatible with a realistic view of our human situation. (shrink)

An inverse akratic act is one who believes X, all things considered, is the correct act, and yet performs ~X, where ~X is the correct act. A famous example of such a person is Huck Finn. He believes that he is wrong in helping Jim, and yet continues to do so. In this paper I investigate Huck’s nature to see why he performs such acts contrary to his beliefs. In doing so, I explore the nature of empathy and show how (...) powerful Huck’s empathic feelings are. Drawing from Martin L. Hoffman, I show the relationship between empathy and a principle of justice. This relationship leads to Huck acting virtuously, as Rosalind Hursthouse maintains. (shrink)

In response to prominent criticisms of virtue ethical accounts of right action, Daniel Russell has argued that these criticisms are misguided insofar as they rest on an incorrect understanding of what virtue ethicists mean by ‘right action’, drawing on Rosalind Hursthouse’s influential account of the term. Liezl van Zyl has explored, though not fully-endorsed, a similar approach. The response holds that virtue ethicists do not embrace a strong connection between (i) right action and (ii) what any given agent ought (...) to do in a given set of circumstances. Rather, ‘right action’ is a matter of action assessment, and indicates that a given action is morally excellent and praiseworthy. More generally, the proposed account of rightness emphasizes both (i) an agent’s past and how she came to be in certain circumstances - is it a result of her own vice or wrong actions? and (ii) the agent’s own future happiness and well-being - will an action be so terrible that her life is marred and ruined? The narrative structure of an agent’s life thus plays a significant role in determining whether an action is right. This revisionary conception of right action is the focus of the current chapter. (shrink)

Yong Huang presents criticisms of Neo-Aristotelian meta-ethical naturalism and argues Zhu Xi’s Neo-Confucian approach is superior in defending moral realism. After presenting Huang’s criticisms of the Aristotelian metaethical naturalist picture, such as that of Rosalind Hursthouse, I argue that Huang’s own views succumb to the same criticisms. His metaethics does not avoid an allegedly problematic ‘gap,’ whether ontological or conceptual, between possessing a human nature and exemplifying moral goodness. This ontological gap exists in virtue of the fact that it (...) is possible for there to be bad people, and the conceptual gap exists in virtue of the fact that people are not ‘good’ (in that sense of being a good agent) merely because they are human. Aristotelians and Confucians both should reject that such gaps are problematic. I conclude by proposing that Huang is better understood as criticizing the Aristotelian move from scientific-empirical facts about human nature to the objective prescriptivity of moral norms. But so too I argue that Confucians should not follow Huang here either. There is good scientific evidence that would be supportive of a Confucian analysis of social virtues and provide one way of responding to those worries about the scientific-empirical accessibility of facts about the good life. (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)

In this paper I argue that a reimagining of the notion of silence as more than a sonic phenomenon is needed to address the dominant structural apparati of Western discourse. Silence as an existential medium is where the Foucauldian apparatuses that power the status-quo of the world operate. They forge connections between things like ideology and social organization where one falls into the wake of the other and is shaped in a way that is nearly invisible to the passing glance. (...) It is the indeterminacy within silence as explored by John Cage that that allows this to happen, but it also offers the potential to have an active role in the shaping of these apparatuses toward a more beneficial and culturally aware form of society. This new approach is crucial in helping one learn to embrace the indeterminacy of life and the hazy relational structures that drive our existence. (shrink)