The “saturated phenomenon” is Jean-Luc Marion’s principal hypothesis, by which he tries to ground the source of phenomenality. Against the transcendental phenomenology, Marion finds phenomena that go beyond the constitutional power of intention. The saturated phenomenon is never possessed because the saturated phenomenon withdraws itself and thus it endlessly escapes from us. A problem of intelligibility thus arises. The essential finitude of the subject requires that the subject passively receives what the saturated phenomenon gives. Marion, (...) however, endows the gifted with more than the mere passivity. The subject is invited as a “witness” who actively responds to the call of the phenomenon. Marion posits the interpersonal relationship. The problem of the interpretability of intention is another problem inherent in the infinity of interpretation of the other. In our ordinary lives, we habitually search out the other’s intention, infinitely. Emmanuel Levinas clearly points out that the other is the transcendent source of ethics, a source which is not intelligible to us. The other, for Levinas, does not appear to the subject, but conditions it. Marion, by contrast, neutralizes the other and “the face” imposes “oneself” as the other who is neutrally visible to us. I assume Marion is more interested in the world of objects, rather than the world of persons, and thus misses the peculiarity resident in the personhood of persons. We become passive in the presence of the personality, not because we want to become passive, but because we realize our own power of illustration does not fill in the personality. (shrink)

This article seeks to reconstruct Derrida’s position regarding the phenomenological problem of givenness. Using Jean-Luc Marion’s description of saturated phenomena as a reference point, I argue that Derrida questions the possibility of an excess of intuition. I propose an interpretation of key moments in his thought to demonstrate that the generalization of writing implicitly attributes impure donation to all phenomena. In other words, a donation from which absolute certainty cannot be derived and which necessitates rejecting the supposed (...) singularity of any phenomenon, including aesthetic ones that serve as a paradigm for the saturation trope. (shrink)

This article gives an account of Jean‑Luc Marion’s thought concerning the anamorphosis of works of art. The initial considerations regarding the phenomenon of anamorphosis in art are followed by a presentation of the innovative character of Marion’s phenomenological project, together with the characteristics of saturated phenomena. The article examines selected examples of anamorphosis of works of art and also categorizes different varieties of anamorphosis. The author aims mainly at proving that Marion’s phenomenological thought reaches beyond the limits of (...) traditionally understood aesthetics, pointing towards the category of excess of intuition (saturation, saturé) in art. (shrink)

Naive observers viewed a sequence of colored Mondrian patterns, simulated on a color monitor. Each pattern was presented twice in succession, first under one daylight illuminant with a correlated color temperature of either 16,000 or 4,000 K and then under the other, to test for color constancy. The observers compared the central square of the pattern across illuminants, either rating it for sameness of material appearance or sameness of hue and saturation or judging an objective property—that is, whether its change (...) of color originated from a change in material or only from a change in illumination. Average color constancy indices were high for material appearance ratings and binary judgments of origin and low for hue–saturation ratings. Individuals’ performance varied, but judgments of material and of hue and saturation remained demarcated. Observers seem able to separate phenomenal percepts from their ontological projections of mental appearance onto physical phenomena; thus, even when a chromatic change alters perceived hue and saturation, observers can reliably infer the cause, the constancy of the underlying surface spectral reflectance. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism (...) and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (shrink)

The theory of vortices seems to contradict Descartes’s willingness to accept in physics only “principles also accepted in mathematics.” We show that this cosmological theory is on the contrary consistent with the Cartesian mathematical norm – explaining phenomena only by the properties that bodies have in common with mathematical objects – and partly implied by the thesis according to which the essence of matter consists of extension – circular motion being the only one allowing movement in a world (...) class='Hi'>saturated by a homogeneous extension. In this respect, the incoherence of the Principles of Philosophy resides rather in the gap between the claim to have “proved by mathematical demonstration” and in the fact that, to pass from the level of general principles to that of cosmology, Descartes sets up a series of auxiliary hypotheses concerning the genesis of the world. (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)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Poorly saturated colors are closer to a pure grey than strongly saturated ones and, therefore, appear less “colorful”. Color saturation is effectively manipulated in the visual arts for balancing conflicting sensations and moods and for inducing the perception of relative distance in the pictorial plane. While perceptual science has proven quite clearly that the luminance contrast of any hue acts as a self-sufficient cue to relative depth in visual images, the role of color saturation in such figure-ground organization (...) has remained unclear. We presented configurations of colored inducers on grey ‘test’ backgrounds to human observers. Luminance and saturation of the inducers was uniform on each trial, but varied across trials. We ran two separate experimental tasks. In the relative background brightness task, perceptual judgments indicated whether the apparent brightness of the grey test background contrasted with, assimilated to, or appeared equal (no effect) to that of a comparison background with the same luminance contrast. Contrast polarity and its interaction with color saturation affected response proportions for contrast, assimilation and no effect. In the figure-ground task, perceptual judgments indicated whether the inducers appeared to lie in front of, behind, or in the same depth with the background. Strongly saturated inducers produced significantly larger proportions of foreground effects indicating that these inducers stand out as figure against the background. Weakly saturated inducers produced significantly larger proportions of background effects, indicating that these inducers are perceived as lying behind the backgrounds. We infer that color saturation modulates figure-ground organization, both directly by determining relative inducer depth, and indirectly, and in interaction with contrast polarity, by affecting apparent background brightness. The results point towards a hitherto undocumented functional role of color saturation in the genesis of form, and in particular figure-ground percepts in the absence of chromatostereopsis. (shrink)

Individuals suffering from depression consistently report experiencing a lack of connectedness with others. David Karp (2017, 73), in his memoir and study of depression, has gone so far to describe depression as “an illness of isolation, a disease of disconnectedness”. It has become common, in phenomenological circles, to attribute this social impairment to the depressed individual experiencing their body as corporealized, acting as a barrier between them and the world around them (Fuchs 2005, 2016). In this paper, I offer an (...) alternative view of the experience of social disconnectedness in depression, suggesting that rather than necessarily experiencing their body as object-like, the depressed individual’s bodily is saturated with experiences of lethargy, tiredness, heaviness, sadness, hopelessness and so on, to the exclusion of being able to bodily connect to others. I suggest that depression does not involve a complete social impairment but a specific impairment of affective forms of interpersonal experience. (shrink)

In the face of causal complexity, scientists reconstitute phenomena in order to arrive at a more simplified and partial picture that ignores most of the 'bigger picture.' This paper will distinguish between two modes of reconstituting phenomena: one moving down to a level of greater decomposition (toward organizational parts of the original phenomenon), and one moving up to a level of greater abstraction (toward different differences regarding the phenomenon). The first aim of the paper is to illustrate that (...) phenomena are moving targets, i.e., they are not fixed once and for all, but are adapted, if necessary, on the basis of the preferred perspective adopted for pragmatic reasons. The second aim is to analyze in detail the second mode of reconstituting phenomena. This includes an exposition of the kind of pragmatic-pluralistic picture resulting from the fact that phenomena are reconstituted by a move up to a level of greater abstraction. (shrink)

In Reasons and Persons, Parfit (1984) posed a challenge: provide a satisfying normative account that solves the Non-Identity Problem, avoids the Repugnant and Absurd Conclusions, and solves the Mere-Addition Paradox. In response, some have suggested that we look toward person-affecting views of morality for a solution. But the person-affecting views that have been offered so far have been unable to satisfy Parfit's four requirements, and these views have been subject to a number of independent complaints. This paper describes a person-affecting (...) account which meets Parfit's challenge. The account satisfies Parfit's four requirements, and avoids many of the criticisms that have been raised against person-affecting views. (shrink)

It is commonly held that research efforts in the cognitive and behavioral sciences are mainly directed toward providing explanations and that phenomena figure into scientific practice qua explananda. I contend that these assumptions convey a skewed picture of the research practices in question and of the role played by phenomena. I argue that experimental research often aims at exploring and describing “objects of research” and that phenomena can figure as components of, and as evidence for, such objects. (...) I situate my analysis within the existing literature and illustrate it with examples from memory research. (shrink)

The major theoretical framework relative to the perception of illusory figures is reviewed and discussed in the attempt to provide a unifying explanatory account for these phenomena.

Wilson argued that since for continuants such as people a predicate and a time determine a place, natural language *can* specify just, e,.g. "a is dyspeptic at t" leaving the location of a's dyspepsia unstated. From this he concludes that language *must* leave the location unstated. I query the transition from *may* to *must*.

In making sense of the world, we typically cooperate, join forces, and draw on one another’s competence and expertise. A group or community in which there is a well-functioning division of cognitive-epistemic labor can achieve levels of understanding that a single agent who relies exclusively on her own capacities would probably never achieve. However, is understanding also collective? I.e., is understanding something that can be possessed by a group or community rather than by individuals? In this paper, I develop an (...) account of understanding phenomena according to which understanding a phenomenon requires reasonably endorsing an adequate and intelligible epistemic mediator that accounts for this phenomenon. I then show that understanding, conceived along these lines, can be attributed to collective entities. An important result of my arguments will be that a collective entity’s understanding cannot (always) be reduced to the sum of the understandings of the individuals belonging to it. This is because a collective entity can sometimes be rightfully claimed to understand a phenomenon while none of its individual members understands it. (shrink)

This study focuses on the influence of the work of Carl Stumpf on the thought of Karl Bühler. Our working hypothesis is based on the philosophical program that Bühler attributes to Stumpf and to which several of his works are largely indebted. It is divided into five parts. The first is intended to establish a relationship between Bühler and the School of Brentano to which Stumpf belongs. In the second, I show that Bühler became aware of Brentano's ideas and of (...) Stumpf's program during a stay at the Institute of Psychology of Berlin during the winter semester 1904-1905, and I briefly comment, in the third part, Bühler's references to the work of Stumpf and two of his books in which he defends Stumpf's program against his critics. After having established the solid knowledge that Bühler had of Stumpf's work, I outline, in the fourth part, the main aspects of this program and evaluate, in the fifth, how Bühler uses it in the field of sensory phenomena (gestalt). I conclude this study with several remarks on Stumpf's positive evaluation of the work of Bühler. (shrink)

Debate about cognitive science explanations has been formulated in terms of identifying the proper level(s) of explanation. Views range from reductionist, favoring only neuroscience explanations, to mechanist, favoring the integration of multiple levels, to pluralist, favoring the preservation of even the most general, high-level explanations, such as those provided by embodied or dynamical approaches. In this paper, we challenge this framing. We suggest that these are not different levels of explanation at all but, rather, different styles of explanation that capture (...) different, cross-cutting patterns in cognitive phenomena. Which pattern is explanatory depends on both the cognitive phenomenon under investigation and the research interests occasioning the explanation. This reframing changes how we should answer the basic questions of which cognitive science approaches explain and how these explanations relate to one another. On this view, we should expect different approaches to offer independent explanations in terms of their different focal patterns and the value of those explanations to partly derive from the broad patterns they feature. (shrink)

A small consortium of philosophers has begun work on the implications of epistemic networks (Zollman 2008 and forthcoming; Grim 2006, 2007; Weisberg and Muldoon forthcoming), building on theoretical work in economics, computer science, and engineering (Bala and Goyal 1998, Kleinberg 2001; Amaral et. al., 2004) and on some experimental work in social psychology (Mason, Jones, and Goldstone, 2008). This paper outlines core philosophical results and extends those results to the specific question of thresholds. Epistemic maximization of certain types does show (...) clear threshold effects. Intriguingly, however, those effects appear to be importantly independent from more familiar threshold effects in networks. (shrink)

The last two decades have seen a rising interest in (a) the notion of a scientific phenomenon as distinct from theories and data, and (b) the intricacies of experimentally producing and stabilizing phenomena. This paper develops an analysis of the stabilization of phenomena that integrates two aspects that have largely been treated separately in the literature: one concerns the skills required for empirical work; the other concerns the strategies by which claims about phenomena are validated. I argue (...) that in order to make sense of the process of stabilization, we need to distinguish between two types of phenomena: phenomena as patterns in the data ( surface regularities ) and phenomena as underlying (or hidden ) regularities. I show that the epistemic relationships that data bear to each of these types of phenomena are different: Data patterns are instantiated by individual data, whereas underlying regularities are indicated by individual data, insofar as they instantiate a data pattern. Drawing on an example from memory research, I argue that neither of these two kinds of phenomenon can be stabilized in isolation. I conclude that what is stabilized when phenomena are stabilized is the fit between surface regularities and hidden regularities. (shrink)

Review of: "Objectivity and Honesty in Science: The case of Light Interference Phenomena".

This work addresses a broad range of questions which belong to four fields: computation theory, general philosophy of science, philosophy of cognitive science, and philosophy of mind. Dynamical system theory provides the framework for a unified treatment of these questions. ;The main goal of this dissertation is to propose a new view of the aims and methods of cognitive science--the dynamical approach . According to this view, the object of cognitive science is a particular set of dynamical systems, which I (...) call "cognitive systems". The goal of a cognitive study is to specify a dynamical model of a cognitive system, and then use this model to produce a detailed account of the specific cognitive abilities of that system. The dynamical approach does not limit a-priori the form of the dynamical models which cognitive science may consider. In particular, this approach is compatible with both computational and connectionist modeling, for both computational systems and connectionist networks are special types of dynamical systems. ;To substantiate these methodological claims about cognitive science, I deal first with two questions in two different fields: What is a computational system? What is a dynamical explanation of a deterministic process? ;Intuitively, a computational system is a deterministic system which evolves in discrete time steps, and which can be described in an effective way. In chapter 1, I give a formal definition of this concept which employs the notions of isomorphism between dynamical systems, and of Turing computable function. In chapter 2, I propose a more comprehensive analysis which is based on a natural generalization of the concept of Turing machine. ;The goal of chapter 3 is to develop a theory of the dynamical explanation of a deterministic process. By a "dynamical explanation" I mean the specification of a dynamical model of the system or process which we want to explain. I start from the analysis of a specific type of explanandum--dynamical phenomena--and I then use this analysis to shed light on the general form of a dynamical explanation. Finally, I analyze the structure of those theories which generate explanations of this form, namely dynamical theories. (shrink)

I propose a straightforward reconciliation of Leibniz’s conception of bodies as aggregates of simple substances (i.e., monads) with his doctrine that bodies are the phenomena of perceivers, without in the process saddling him with any equivocations. The reconciliation relies on the familiar idea that in Leibniz’s idiolect, an aggregate of Fs is that which immediately presupposes those Fs, or in other words, has those Fs as immediate requisites. But I take this idea in a new direction. Taking notice of (...) the fact that Leibniz speaks of three respects in which one thing may immediately presuppose others--i.e., with respect to its being, its existence, and its reality--I argue that a phenomenon having its being in one perceiving substance (monad) can plausibly be understood to presuppose other perceiving substances (monads) in two of these respects. Accordingly, good sense can be made of both the claim that a phenomenon in one monad is an aggregate of other monads (in Leibniz’s technical sense of 'aggregate') and the (equivalent) claim that the latter monads are constituents of the phenomenon (in his technical sense of 'constituent'). So understood, the two conceptions of body are perfectly compatible, just as Leibniz seems to think. (shrink)

“Impermanent Biological Phenomena” July 2021, Buddhism and Culture (a Korean-language Buddhist magazine sponsored by the Foundation for the Promotion of Korean Buddhism), Korea.

Purpose. This article is devoted to the case study of relevant linguacultural stereotypes of the particular organization’s managerial culture and based on corresponding results the inquiry of the discourses formation features associated with the lexico-semantic meanings dispersion of (Foucault). -/- Methods and Procedure of Research. Top managers of a large Ukrainian enterprise (67 respondents) were asked to arbitrarily describe the following concepts – “manager”, “subordinate”, “managerial style”. Each concept was differentiated according to the principle of the lexico-semantic opposition (“productive – (...) counterproductive”). The obtained set of texts was lemmatized and a frequency analysis of the lemmas was carried out as well. Collocations were also evaluated, in particular, repeated n-grams were identified. In the further analysis were used all detected n-grams and those lemmas, the observed frequencies of which statistically significantly exceeded the expected ones. -/- Results. Discourse formation features are determined by the paradigmatic relations of lexico-semantic units (words) and their semantic linear compatibility. The paradigmatic dispersion of a discourse is represented by the quality of connections between lemmas according to the criterion of the paradigm types to be found. Also informative is the assessment of the lemmas number (granularity of the discourse) and the spectrum diversity of paradigmatic relations in the discourse. These parameters reflect the properties of homogeneity/complexity of discourse meanings dispersion. The syntagmatic dissemination of discourse is manifested by the features of the words semantic linear interrelationship in each n-gram. This parameter reflects the quality of rationalizations (verbal-logical chains) associated with the corresponding discourses. The length of n-grams (the number of words) is also indicative – the higher n, the more differentiated the discourse is and vice versa. Matching the words semantics in n-grams with lemmas allows one to draw a conclusion regarding the internal consistency (integration) of the discourse. -/- Conclusions. Psycholinguistic tools can be effectively used in an organizational phenomena study. In particular, the frequency analysis of lemmas, their lexico-semantic evaluation, as well as the qualitative analysis of n-grams in the problem-targeted texts of respondents allows one to solve applied research issues related to the assessment of current linguacultural trends in an organization and understanding their possible causes. Managerial culture, as a linguacultural phenomenon, is represented by a set of stably reproduced discourses in the process of the organization’s functioning. At the same time, discourses are constituted by the dispersion of meanings (words), which is being realized in two linguistic dimensions – paradigmatic and syntagmatic ones. (shrink)

The central aim of this article is to specify the ontological nature of constitutive mechanistic phenomena. After identifying three criteria of adequacy that any plausible approach to constitutive mechanistic phenomena must satisfy, we present four different suggestions, found in the mechanistic literature, of what mechanistic phenomena might be. We argue that none of these suggestions meets the criteria of adequacy. According to our analysis, constitutive mechanistic phenomena are best understood as what we will call ‘object-involving occurrents’. (...) Furthermore, on the basis of this notion, we will clarify what distinguishes constitutive mechanistic explanations from etiological ones. 1 Introduction 2 Criteria of Adequacy 2.1 Descriptive adequacy 2.2 Constitutive–etiological distinction 2.3 Constitution 3 The Ontological Nature of Constitutive Mechanistic Phenomena 3.1 Phenomena as input–output relations 3.2 Phenomena as end states 3.3 Phenomena as dispositions 3.4 Phenomena as behaviours 4 Phenomena as Object-Involving Occurrents 4.1 What object-involving occurrents are and why we need them 4.2 The object in the phenomenon 4.3 The adequacy of option 5 Conclusion. (shrink)

I argue that Leibniz consistently subscribes to the view that phenomena (thus bodies) have their being in perceiving substances. I then argue that this mentalistic conception of phenomenon coheres with three of his doctrines of body: (1) that bodies presuppose the unities or simple substances on which they are founded; (2) that bodies are aggregates of those substances; and (3) that bodies derive or borrow their reality from their simple constituents.

The volume provides an updated perspective on international aspects of various developments in media and culture. It includes discussions on how the digital environment contributes to the transformation and re-interpretation of existing phenomena, such as violence-on-demand in online movies, the internet appeal of virtual gangsta rappers, or the revived battle rap tradition, which operates outside the commercial limitations of the music industry and generates more views on social media than most recording artists. -/- The book offers a new consideration (...) of long-term trends and developments, and demonstrates in various examples how formerly marginal practices like gaming or the previously shunned Turkish movie industry have turned into influential tools of social change. In addition, the reciprocity of media content and political settings is underlined in a focus on the Arab world and the reconstruction of impulses from transnational media outlets to recent forms of citizen journalism, as well as in the case of governments’ approaches to media policy in response to the COVID-19 pandemic. The book places the spotlight on pressing issues, such as the ongoing enforcement of information control in the name of public health or the local politics and practices that hinder the process of democratization in authoritarian systems. -/- . (shrink)

This book was compiled in order to connect the dots between past and present expressions of significant phenomena in media and culture. It attempts to provide a “big picture” perspective on how contemporary relevant manifestations of the entertainment industry, artistic expression, mediated civic engagement, technological infrastructure, or automated information control evolved from subversive surroundings, niche markets, and underestimated potentials to shaping forces in todays' society.

This book was compiled in order to connect the dots between past and present expressions of significant phenomena in media and culture. It attempts to provide a “big picture” perspective on how contemporary relevant manifestations of the entertainment industry, artistic expression, mediated civic engagement, technological infrastructure, or automated information control evolved from subversive surroundings, niche markets, and underestimated potentials to shaping forces in today's society. This book can be seen as both, a celebration of past and present achievements of (...) creative expression, artistic articulation, cultural contributions, and mediated movements for the sake of liberalization and democracy, and a warning against a “cultural revolution” defined by censorship, suppression of pluralist opinions, unnatural conformity in science and journalism, and the distinction between “fake news” and “fact” handled by artificial intelligence or part-time fact checkers. (shrink)

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

This paper examines the adequacy of causal graph theory as a tool for modeling biological phenomena and formalizing biological explanations. I point out that the causal graph approach reaches it limits when it comes to modeling biological phenomena that involve complex spatial and structural relations. Using a case study from molecular biology, DNA-binding and -recognition of proteins, I argue that causal graph models fail to adequately represent and explain causal phenomena in this field. The inadequacy of these (...) models is due to their failure to include relevant spatial and structural information in a way that does not render the model non-explanatory, unmanageable, or inconsistent with basic assumptions of causal graph theory. (shrink)

This paper focuses on symbolization as purity and translucidity of phenomena.

Illusionism claims that we are not conscious, that there is nothing it is like, in the usual sense of the word, to feel sad, or to smell lavender. According to Illusionists, we are, in a technical sense, zombies. Instead of arguing for the falsity of Illusionism directly, I will explain why the main philosophical motivations for it are mistaken – and I trust the rest will be taken care of by the extreme implausibility of the view. I want to spread (...) the good news to Illusionists that they don’t need to resort to this highly counterintuitive, strange, and as I will argue later, morally corrosive idea. One can be a physicalist and phenomenal realist since neither of the two types of arguments Illusionists rely on – the conceivability arguments, and the debunking arguments against physicalist phenomenal realism – work. In the last part of the paper, I will say something about the corrosive effect this metaphysics has on our moral and evaluative outlook. (shrink)

In this paper, I distinguish between linguistic and non-linguistic presuppositions. I also propose that we should be interested in conversational presuppositions, which could also be called speaker-meant presuppositions or speaker's presuppositions. I also distinguish between potential and actual presuppositions. I propose that, in some cases, presuppositions can be conversationally implicated and cancellation is possible. I specify what the hard cases are and I try to explain them through ontological considerations. I try to reduce the hard cases through (a) the notion (...) that all actual presuppositions are speaker-meant; (b) the distinction between ontological and linguistic presuppositions; and (c) the uncontroversial notion that even ontological presuppositions are susceptible to semantic under-determination that has to be tackled though pragmatic intrusion. Pragmatic intrusion for presuppositional cases, however, cannot really amount to completing or expanding or in any case computing an explicature in an ordinary sense, as explicatures have to do with truth-conditions and aim to create propositionally complete forms that are truth-evaluable, unlike propositional fragments or schemata that are usually expressed in sentences (; , 2012). They are processes similar to explicatures, but since presuppositions are only pre-conditions for an utterance's being true or false (; Macagno; 2016; ; ), we cannot say that these processes are completely like those of explicatures. Nevertheless, they are pragmatically-motivated, even if hard to cancel. (See on lack of cancellability or on entrenched meanings.) This more or less brings my approach in line with contextualism (even if I accept semantic invariantism, along the lines of or (Invariantism is also shared by , in a form that is compatible with her contextualism.)). (shrink)

In my 2013 article, “A New Theory of Free Will”, I argued that several serious hypotheses in philosophy and modern physics jointly entail that our reality is structurally identical to a peer-to-peer (P2P) networked computer simulation. The present paper outlines how quantum phenomena emerge naturally from the computational structure of a P2P simulation. §1 explains the P2P Hypothesis. §2 then sketches how the structure of any P2P simulation realizes quantum superposition and wave-function collapse (§2.1.), quantum indeterminacy (§2.2.), wave-particle duality (...) (§2.3.), and quantum entanglement (§2.4.). Finally, §3 argues that although this is by no means a philosophical proof that our reality is a P2P simulation, it provides ample reasons to investigate the hypothesis further using the methods of computer science, physics, philosophy, and mathematics. (shrink)

In this paper I defend an intermediate position between the ‘bare mathematical results’ view and the ‘transmission’ view of mathematical explanations of physical phenomena (MEPPs). I argue that, in MEPPs, it is not enough to deduce the explanandum from the generalizations cited in the explanans. Rather, we must add information regarding why those generalizations obtain. However, I also argue that it is not necessary to provide explanatory proofs of the mathematical theorems that represent those generalizations. I illustrate this with (...) the bridges of Königsberg case. -/- . (shrink)

In Chapter 3 of Book I of Psychology from an Empirical Standpoint, Brentano articulates what he takes to be the four most basic and central tasks of psychology. One of them is to discover the ‘fundamental classification’ of mental phenomena. Brentano attends to this task in Chapters 5-9 of Book II of the Psychology, reprinted (with appendices) in 1911 as a standalone book (Brentano 1911a). The classification is further developed in an essay entitled “A Survey of So-Called Sensory and (...) Noetic Objects of Inner Perception,” published posthumously in Brentano 1928/1981b, as well as a 1907 dictation entitled “Loving and Hating,” reprinted in Brentano 1969. (shrink)

Following one of Jacques Derrida’s early questions — namely, How is writing involved in speech? — this essay reconsiders the role of the tongue and the sense of taste in the oral phenomena of speaking and saying. The contact the tongue makes with the mouth or teeth is just as much a materialization of language as what is commonly called “writing.” The tongue acts as a pen and the mouth, as a blank page (or palimpsest). Mouthed writing is accompanied (...) by sense experiences. There are various selftastes to the tastes of speaking, the tastes of words, or, even, the tastes of thoughts. Freud’s notes on speaking in one’s sleep, telepathy, the mystic writing-pad, and memory are revisited and supplemented with the writings of Hélène Cixous on the taste of words, telephoning, saying-to-oneself, and forgetting. The auto-affection of tasting-oneself-speakwriting is offered as an alternative to the metaphysical presumptions Derrida implicates in Husserl’s understanding of speech based on the auto-affection of hearing-oneself-speak. As such, writing (haunted by the trace of death) and speech (invested with living presence) is now confronted with the selftastes of speakwriting with one’s stylangue in and on the mouth as the scene of writing (ever accompanied by tastes of life-death). (shrink)

This paper studies the epistemic failures to reach understanding in relation to scientific explanations. We make a distinction between genuine understanding and its negative phenomena—lack of understanding and misunderstanding. We define explanatory understanding as inclusive as possible, as the epistemic success that depends on abilities, skills, and correct explanations. This success, we add, is often supplemented by specific positive phenomenology which plays a part in forming epistemic inclinations—tendencies to receive an insight from familiar types of explanations. We define lack (...) of understanding as the epistemic failure that results from a lack of an explanation or from an incorrect one. This can occur due to insufficient abilities and skills, or to fallacious explanatory information. Finally, we characterize misunderstanding by cases where one’s epistemic inclinations do not align with an otherwise correct explanation. We suggest that it leads to potential debates about the explanatory power of different explanatory strategies. We further illustrate this idea with a short meta-philosophical study on the current debates about distinctively mathematical explanations. (shrink)

This paper outlines the methodological and empirical limitations of analysing the potential relationship between complex social phenomena such as democracy and inequality. It shows that the means to assess how they may be related is much more limited than recognised in the existing literature that is laden with contradictory hypotheses and findings. Better understanding our scientific limitations in studying this potential relationship is important for research and policy because many leading economists and other social scientists such as Acemoglu and (...) Robinson mistakenly claim to identify causal linkages between inequality and democracy but at times still inform policy. In contrast to the existing literature, the paper argues that ‘structural’ or ‘causal’ mechanisms that may potentially link the distribution of economic wealth and different political regimes will remain unknown given reasons such as their highly complex and idiosyncratic characteristics, fundamental econometric constraints and analysis at the macro-level. Neither new data sources, different analysed time periods nor new data analysis techniques can resolve this question and provide robust, general conclusions about this potential relationship across countries. Researchers are thus restricted to exploring rough correlations over specific time periods and geographic contexts with imperfect data that are very limited for cross-country comparisons. (shrink)

This study is a commentary on Carl Stumpf's evaluation of Husserl's phenomenology as presented in the Logical Investigations and the first book of Ideas. I first examine Stumpf's reception of the version of phenomenology that Husserl presented in the Logical Investigations and I then look at §§ 85-86 of Ideas I, in which Husserl seeks to demarcate his "pure" phenomenology from that of Stumpf. In the third section, I analyze the criticism that Stumpf, in § 13 of his book Erkenntnislehre, (...) directs toward to the new version of phenomenology that Husserl develops in Ideas I, and in the fourth, I summarize the Spinozist interpretation of the noetico-noematical correlations that Stumpf proposes in his two studies on Spinoza. The last section addresses Husserl's self-criticism regarding the Cartesian aproach to the reduction in Ideas I and the parallelism that the late Husserl establishes between intentional psychology and transcendental phenomenology. I try to show that the version of phenomenology that Husserl develops during the Freiburg period anticipates in many respects Stumpf's criticism and partly confirms the latter's diagnosis of the version of phenomenology advocated in Ideas I. (shrink)

A major part of philosophical work is engagement with argumentative texts. Engaging with an argumentative text involves correctly identifying the arguments presented in this text. In the context of teaching philosophy in school, the difficulty of correctly identifying arguments in philosophical texts is often underestimated. In this paper, I focus on one specific problem with argument identification that has been neglected in philosophy didactics thus far: the problem that there are many non-argumentative phenomena in an argumentative text that are (...) easily misidentified as expressing (part of) an argument. It is easy to fall for such phenomena if one is not aware of this problem, thereby misinterpreting the author’s intentions. This paper aims to present and discuss such phenomena, as well as to provide guidelines on how to help students recognize them. (shrink)

In this paper I present a version of meaning holism proposed by Henry Jackman (1999a, 1999b, 2005 and 2015) entitled "moderate holism". I will argue that this moderate version of holism, in addition to responding to much of the criticism attributed to traditional semantic holism (such as translation, disagreement, change of mind and communication), is also extremely useful to explain the occurrence of several, such as vagueness and polysemy.

From the early-1950s on, F.A. Hayek was concerned with the development of a methodology of sciences that study systems of complex phenomena. Hayek argued that the knowledge that can be acquired about such systems is, in virtue of their complexity (and the comparatively narrow boundaries of human cognitive faculties), relatively limited. The paper aims to elucidate the implications of Hayek’s methodology with respect to the specific dimensions along which the scientist’s knowledge of some complex phenomena may be limited. (...) Hayek’s fallibilism was an essential (if not always explicit) aspect of his arguments against the defenders of both socialism ([1935] 1948, [1940] 1948) and countercyclical monetary policy ([1975] 1978); yet, despite the fact that his conceptions of both complex phenomena and the methodology appropriate to their investigation imply that ignorance might beset the scientist in multiple respects, he never explicated all of these consequences. The specificity of a scientific prediction depends on the extent of the scientist’s knowledge concerning the phenomena under investigation. The paper offers an account of the considerations that determine the extent to which a theory’s implications prohibit the occurrence of particular events in the relevant domain. This theory of “predictive degree” both expresses and – as the phenomena of scientific prediction are themselves complex in Hayek’s sense – exemplifies the intuition that the specificity of a scientific prediction depends on the relevant knowledge available. (shrink)

F.A. Hayek argued that the sciences of complex phenomena, including (perhaps especially) economics, are limited to incomplete “explanations of the principle” and “pattern predictions.” According to Hayek, these disciplines suffer from (what I call) a data problem, i.e., the hopelessness of populating theoretical models with data adequate to full explanations and precise predictions. In Hayek’s terms, explanations in these fields are always a matter of “degree.” However, Hayek’s methodology implies a distinct theory problem: theoretical models of complex phenomena (...) may be underspecified so that, even were all the data available, a full explanation could not be inferred from the model. Where the sciences of complex phenomena are subject to both the data and theory problems, explanations and predictions will be of even lesser “predictive degree.” The paper also considers how to interpret Hayek’s claim that pattern predictions are falsifiable. (shrink)

Wittgenstein’s later works are full of questions about the timing and duration of mental phenomena. These questions are often awkward ones, and Wittgenstein seems to take their awkwardness to be philosophically revealing, but if we ask what it is that these questions reveal then different interpretations are possible. This paper suggests that there are at least six different ways in which the timing of mental phenomena can be awkward. By identifying these we can give sense to some of (...) Wittgenstein’s more cryptic remarks, and doing this enables us to clarify some obscure elements in his picture of the mind, including the distinction between sensations and feelings, and his account of the rational status of those processes out of which rule-following is built. (shrink)

This research study aims to highlight the personal experiences encountered by the participants, compare the differences between both narrations, and lastly identify common phenomena. This study utilized the auto-ethnographical research study. Ellis and Bochner (2000) describe autoethnography as "an autobiographical form of writing that exhibits several levels of awareness, linking the personal to the cultural". Autoethnography may include a wide variety of topics, from personal research experiences to parallel explorations of the researcher's and participants' experiences, as well as the (...) researcher's experience while undertaking a particular piece of research (Ellis & Bochner, 2000; Maso, 2001). It appears that practice teaching enables interns to experience the actual classroom teaching and school paperwork preparation. Aside from the technical aspects of the internship process, it prepares the student-teachers as well in the different course of school activities that will immerse them in the process of management. Generally, the personal experiences of the different interns vary from the school environment, protocols, and learning resources of the school assigned. The different practice- teaching experiences narrated by the interns that will have a common phenomenon will be a strong determinant of a certain situation. (shrink)

Can mathematics contribute to our understanding of physical phenomena? One way to try to answer this question is by getting involved in the recent philosophical dispute about the existence of mathematical explanations of physical phenomena. If there is such a thing, given the relation between explanation and understanding, we can say that there is an affirmative answer to our question. But what if we do not agree that mathematics can play an explanatory role in science? Can we still (...) consider that the above question can have an affirmative answer? My main aim here is to give an account that takes mathematics, in some of the cases discussed in the literature, as contributing to our understanding of physical phenomena despite not being explanatory. (shrink)