To explain how social cognition normally serves us in real life, we need to ask which factors contribute to specific social interactions. Recent accounts, and mostly pluralistic models, have started incorporating contextual and social factors in explanations of social cognition. In this paper, I further motivate the importance of contextual and identity factors for social cognition. This paper presents scripts as an alternative resource in social cognition that can account for contextual and identity factors. Scripts are normative and (...) context-sensitive knowledge structures that describe behavior in terms of corresponding events, situations, social roles, individuals, or mental state types in a way that guides action. The script approach presented here builds on recent accounts of social cognition but points out important differences and possible advantages it has over them: e.g., the script approach focuses even more strongly on context and identity. (shrink)

This paper argues that one of the most valuable insights that Muslim-Americans ought to bring into the political arena is our affective response to the government of the United States' internal and foreign policies regarding Muslims. I posit the concept of empathy as one such response that ought to inform our foreign policy in a manner inclusive of Muslim-Americans. The scope of our epistemic privilege encompasses the affective response that crosses borders of the nation-state in virtue of our propinquity to (...) the narratives of Muslims globally. Such an affective response is crucial to our selves remaining multiplicitous and whole. Furthermore, I argue that we ought to access and assess those aspects of our identity that make us subject to suspicions of disloyalty, because it is precisely those aspects that can inform our social and political discourse in a more morally adequate and responsive way. (shrink)

At its founding and during its first three decades, the Carthusian order developed a distinctive and forceful concept of communication among the members and between the members and the extramural world.2 Saint Bruno’s life, contemporary twelfth-century exegesis, and the physical situation of La Grande Chartreuse established the necessary context in which this concept evolved. A review of historical background, the relevant documentary texts, and early development demonstrate the shaping of two steps in this concept. Close reading of the principal testimonies (...) of Carthusians Bruno, Guigo I, Guigo II, and some other witnesses, as well as of some passages in Saint Augustine, argues that Carthusian scribal work was more preliminary practice for spiritual development than it was the sacralization of codices and texts. The two-step structure, composed of contrary movements of presentation and effacement, guarded what the Carthusians regarded as spiritual activity within a changing historical environment and became a fundamental part of Latin Christian mysticism in the fourteenth and fifteenth centuries. (shrink)

Unlike other writing systems that are readily classifiable as alphabetic or syllabic in their structure, the Indic Devanagari script (of which Hindi is an example) has properties of both syllabic and alphabetic writing systems. Whereas Devanagari consonants are written in a linear left-to-right order, vowel signs are positioned nonlinearly above, below, or to either side of the consonants. This fact results in certain words in Hindi for which, in a given syllable, the vowel precedes the consonant in writing but follows (...) it in speech. The current research exploited this property of the script to examine when the disparity between spatial and temporal sequenc- ing would incur a processing cost and the implications of the findings from naming speed, accuracy, and writing order for the level at which words in Devanagari are segmented. The results support a partly phonemic and partly syllabic level of segmentation, consistent with the structural hybridity of the script. (shrink)

Encultured individuals see the behavioral rules of cultural systems of moral norms as objective. In addition to prescriptive regulation of behavior, moral norms provide templates, scripts, and scenarios regulating the expression of feelings and triggered emotions arising from perceptions of norm violation. These allow regulated defensive responses that may arise as moral idea systems co-opt emotionally associated biological survival instincts.

This chapter argues that emotion recognition is a skill. A skill perspective on emotion recognition draws attention to underappreciated features of this cornerstone of social cognition. Skills have a number of characteristic features. For example, they are improvable, practical, and flexible. Emotion recognition has these features as well. Leading theories of emotion recognition often draw inadequate attention to these features. The chapter advances a theory of emotion recognition that is better suited to this purpose. It proposes that emotion recognition involves (...) scripts. Emotion scripts describe how people are likely to behave in different emotional contexts. Scripts can be improved with the addition of richer social knowledge, they are practical in that they describe and guide social interaction, and they are flexible because they must accommodate the fact that emotions have different behavioral impact depending on the agents involved and the circumstances at play. Learning to recognize emotions through scripts qualifies as a skill. (shrink)

“Philosophy isn’t useful for changing the world,” parents of philosophy students and Karl Marx tell us (at least about non-Marxist philosophy). Cristina Bicchieri’s new book Norms in the Wild provides an impressive antidote against this worry. It stands to change of social practices as Che Guevara’s Guerrilla Warfare stands to political revolutions. Bicchieri combines hands-on advice on how to change social practices with compelling theoretical analyses of social norms. She draws heavily on her influential earlier work on norms, but the (...) book doesn’t presuppose familiarity with it. Many of her examples stem from her work with UNICEF and other NGOs; they include female genital cutting, open defecation, child marriage, and many more. I cannot do full justice to Bicchieri’s rich book here, but will instead focus on three points. 1. Bicchieri offers a detailed and helpful botanization of collective behavior. Purely behavioral definitions of the relevant categories are inadequate. We must look at preferences and beliefs in order to know, e.g., whether something is a social norm. 2. Intentionally changing social norms is a complex process that requires several steps and extensive diagnostics. Simple information campaigns or provision of resources are unlikely to be successful. 3. Trendsetters and scripts often play a crucial role in norm change. Any approach that doesn’t look at psychological mechanisms and variables that are unevenly distributed across the population is inadequate. (shrink)

While much has been written on love, the question of how romantic love differs from friendship love has only rarely been addressed. This chapter focuses on shedding some light on this question. I begin by considering goal-oriented approaches to love. These approaches, I argue, have the resources needed to account for the differences between friendship love and romantic love. But purely goal-oriented accounts fail on account of their utilitarian gloss of our loved ones. Even when they circumvent this criticism, they (...) make the mistake of conflating the motivational tendencies of love for its constitutive characteristics. I then turn my attention to David Velleman's account of love as a moral emotion but argue that his view lacks the resources to account for the differences between romantic love and friendship love. I then go on to sketch a socially situated account of love that does better in this respect. I conclude by reflecting on the normativity of love. (shrink)

Two meta-analyses were conducted to examine two potential sources of spatial orientation biases in human profile drawings by brain-intact individuals. The first examined profile facing direction as function of hand used to draw. The second examined profile facing direction in relation to directional scanning biases related to reading/writing habits. Results of the first meta-analysis, based on 27 study samples with 4171 participants, showed that leftward facing of profiles (from the viewer's perspective) was significantly associated with using the right hand to (...) draw. The reading/writing direction meta-analysis, based on 10 study samples with 1552 participants, suggested a modest relationship between leftward profile facing and primary use of a left-to-right reading/writing direction. These findings suggest that biomechanical and cultural factors jointly influence hand movement preferences and in turn the direction of facing of human profile drawings. -/- . (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

Previous discussions of the origins of writing in the Ancient Near East have not incorporated the neuroscience of literacy, which suggests that when southern Mesopotamians wrote marks on clay in the late-fourth millennium, they inadvertently reorganized their neural activity, a factor in manipulating the writing system to reflect language, yielding literacy through a combination of neurofunctional change and increased script fidelity to language. Such a development appears to take place only with a sufficient demand for writing and reading, such as (...) that posed by a state-level bureaucracy; the use of a material with suitable characteristics; and the production of marks that are conventionalized, handwritten, simple, and non-numerical. From the perspective of Material Engagement Theory, writing and reading represent the interactivity of bodies, materiality, and brains: movements of hands, arms, and eyes; clay and the implements used to mark it and form characters; and vision, motor planning, object recognition, and language. Literacy is a cognitive change that emerges from and depends upon the nexus of interactivity of the components. (shrink)

Business Process Reengineering and Organizational Structure – A Case Study of Indian Commercial Banks -/- Author / Authors : Dr. Naveeda Seher Page no. 126 -138 Discipline : Applied Economics/ Management/ Commerce Script/language : Roman/English Category : Research paper Keywords: Business Process Reengineering, organizational Structure, Effectiveness, competitive.

Decentralising Bengaluru Urban -The Regional Planning way -/- Author / Authors : Priyadarshini Sen Page no.139 -148 Discipline : Applied Economics/ Management/ Commerce/Geography Script/language : Roman/English Category : Research paper Keywords: Regional Planning, Metropolis, Social wellbeing, Settlement.

This paper presents pretending as an enacted and fundamentally social activity. First, it demonstrates why we should think of pretense as inherently social. Then, it shows how that fact affects our theory in terms of what is needed in order to pretend. Standardly, pretense is seen as requiring a mechanism that allows one to bypass the “obvious” re- sponse to the environment in order to opt for a symbolic response; that mechanism is im- aginative and representational. This paper shows that (...) the Enactive Account of Pretense reconsiders the idea that one needs to respond to an absent environment when pretending, proposing instead that socially con- stituted perceptual affordances for play allow for non-obvious ways of responding to the present environment. The enactive account of pretense suggests that one need not posit special cognitive pretense mechanisms and mental scripts in order to account for pretend- ing, as available capacities for active perception and re-enactment of routines suffice. This paper concludes with suggestions for the kinds of cognitive skills that should be sought out to explain pretense. (shrink)

In this paper I sketch a socially situated account of responsible agency, the main tenet of which is that the powers that constitute responsible agency are themselves socially constituted. I explain in detail the constitution relation between responsibility-relevant powers and social context and provide detailed examples of how it is realized by focusing on what I call ‘expectations-generating social factors’ such as social practices, cultural scripts, social roles, socially available self-conceptions, and political and legal institutions. I then bring my (...) account to bear on the debate about the exculpatory potential of moral ignorance. I show that a prominent position in this debate – the position that denies that moral ignorance exculpates – is grounded on an individualistic and acontextualist conception of moral capacities, moral cognition, and blameworthiness, and that this conception leads those philosophers who endorse it to make a number of questionable claims regarding the ability of ordinary agents to overcome their moral ignorance and the culpability they bear for the latter. I conclude by indicating how my socially situated account addresses the issue of moral ignorance. (shrink)

निर्गुण प्रेम मार्गी सूफ़ी संत कवि एवं उनका काव्य, ज्ञान मार्गी संत काव्य धारा एवं निर्गुण प्रेम मार्गी सूफ़ी संत काव्य धारा में साम्य एवं वैषम्य -/- Author / Authors : डॉ0 आभा रानी Page no. 9 - 49 Discipline : Hindi Literature/Cultural studies/Sufism Script/language :Devnagiri / Hindi Category : Research paper Keywords: निर्गुण प्रेम मार्गी सूफ़ी संत कवि, ज्ञान मार्गी संत काव्य धारा, निर्गुण प्रेम मार्गी सूफ़ी संत काव्य धारा.

This commentary responds to Stephen Cave and Kanta Dihal’s call for further investigations of the whiteness of AI. My response focuses on three overlapping projects needed to more fully understand racial bias in the construction of AI and its representations in pop culture: unpacking the intersections of gender and other variables with whiteness in AI’s construction, marketing, and intended functions; observing the many different ways in which whiteness is scripted, and noting how white racial framing exceeds white casting and thus (...) cannot be undone by more diverse and inclusive hiring. Our techno-utopian fantasies, I conclude, are morally suspect in ways that go beneath and beyond the white plastic covering on robotic bodies. (shrink)

To what extent do early intuitions about ownership depend on cultural and socio-economic circumstances? We investigated the question by testing reasoning about third party ownership conflicts in various groups of three- and five-year-old children (N = 176), growing up in seven highly contrasted social, economic, and cultural circumstances (urban rich, poor, very poor, rural poor, and traditional) spanning three continents. Each child was presented with a series of scripts involving two identical dolls fighting over an object of possession. The (...) child had to decide who of the two dolls should own the object. Each script enacted various potential reasons for attributing ownership: creation, familiarity, first contact, equity, plus a control/neutral condition with no suggested reasons. Results show that across cultures, children are significantly more consistent and decisive in attributing ownership when one of the protagonists created the object. Development between three and five years is more or less pronounced depending on culture. The propensity to split the object in equal halves whenever possible was generally higher at certain locations (i.e., China) and quasi-inexistent in others (i.e., Vanuatu and street children of Recife). Overall, creation reasons appear to be more primordial and stable across cultures than familiarity, relative wealth or first contact. This trend does not correlate with the passing of false belief theory of mind. (shrink)

In this paper, we take up an old issue that of pragmemes, broached by Mey and further explored by Capone. It is not easy to define pragmemes and distinguish them sufficiently from speech acts (units of language use broached by Austin and Searle) or from Wittgensteinian language games or from macro speech acts (see van Dijk on macrostructures) or from Goffman’s scripts. The best idea we could develop about pragmemes is that they instantiate the triple articulation of language, proposed (...) by Jock Wong; being essentially composed of phonological-syntactic units, that have a certain content relative to a social situation and to a certain culture, pragmemes express a certain function (or illocutionary force), like, e.g., modifying society or some aspect of it. They are part of a chapter that can be called either “societal pragmatics” or “emancipatory pragmatics,” to use the words by Mey. In fact, knowledge of how language is used to diminish the rights of people and to propagate the “status quo” may be instrumental to give rights and power to ordinary human beings who are oppressed by political and economical structures. -/- . (shrink)

Papers, Please, by Lucas Pope (2013), explores the story of a customs inspector in the fictional political regime of Arstotzka. In this paper we explore the stories, systems and moral themes of Papers, Please in order to illustrate the systemic approach to designing videogames for moral engagement. Next, drawing on the Four Component model of ethical expertise from moral psychology, we contrast this systemic approach with the more common scripted approach. We conclude by demonstrating the different strengths and weaknesses that (...) these two approaches have when it comes to designing videogames that engage the different aspects of a player’s moral expertise. (shrink)

This article analyzes the global causes of the contemporary crisis and the possibilities to eliminate the most acute problems that have generated this crisis. It analyzes both the negative role of the world financial flows and their important positive functions including the ‘insurance’ of social guaranties at the global scale. In connection with the outcome of the crisis it analyzes the conditions of possible transformations of the world system and the possibility of various global scripts of its near future. (...) It gives a characteristic of the coming ‘epoch of new coalitions’; it gives some futuristic prognosis. (shrink)

Creativity is often conceived in terms of insight, innovation, and invention realized through technical mastery and skill. Challenging this individualistic model are “inventions” like writing, something that surely gave no clue to the form it would ultimately take—script—or the ways in which it would reorganize behaviors and brains in the cognitive state known as literacy. Here writing is analyzed as a tool used collectively and collaboratively. Collective, collaborative use enabled the tool to become increasingly effective at eliciting specific behavioral and (...) psychological responses. Collective, collaborative use also subjected the tool to the combined force of the individual variability represented by different user and material combinations over time. Combined variability influenced tool form toward features reflecting both the average behavioral, physiological, and psychological capacities of the tool-using community and points of maximal usability. The result offers a new model of creativity, one based not on the individual but on collective, collaborative use and incremental change in behaviors and brains, materially accumulated and redistributed between generations. The model presents aspects of human innovation that escape the individualistic model by focusing on ordinary tool-using behaviors and sustained use within social groups as the critical elements. (shrink)

Frantz Fanon offers a lucid account of his entrance into the white world where the weightiness of the ‘white gaze’ nearly crushed him. In chapter five of Black Skins, White Masks, he develops his historico-racial and epidermal racial schemata as correctives to Merleau-Ponty’s overly inclusive corporeal schema. Experientially aware of the reality of socially constructed (racialized) subjectivities, Fanon uses his schemata to explain the creation, maintenance, and eventual rigidification of white-scripted ‘blackness’. Through a re-telling of his own experiences of racism, (...) Fanon is able to show how a black person in a racialized context eventually internalizes the ‘white gaze’. In this essay I bring Fanon’s insights into conversation with Foucault’s discussion of panoptic surveillance. Although the internalization of the white narrative creates a situation in which external constraints are no longer needed, Fanon highlights both the historical contingency of ‘blackness’ and the ways in which the oppressed can re-narrate their subjectivities. Lastly, I discuss Fanon’s historically attuned ‘new humanism’, once again engaging Fanon and Foucault as dialogue partners. (shrink)

This paper examines an insoluble Cartesian problem for classical AI, namely, how linguistic understanding involves knowledge and awareness of u’s meaning, a cognitive process that is irreducible to algorithms. As analyzed, Descartes’ view about reason and intelligence has paradoxically encouraged certain classical AI researchers to suppose that linguistic understanding suffices for machine intelligence. Several advocates of the Turing Test, for example, assume that linguistic understanding only comprises computational processes which can be recursively decomposed into algorithmic mechanisms. Against this background, in (...) the first section, I explain Descartes’ view about language and mind. To show that Turing bites the bullet with his imitation game, in the second section I analyze this method to assess intelligence. Then, in the third section, I elaborate on Schank and Abelsons’ Script Applier Mechanism (SAM, hereby), which supposedly casts doubt on Descartes’ denial that machines can think. Finally, in the fourth section, I explore a challenge that any algorithmic decomposition of linguistic understanding faces. This challenge, I argue, is the core of the Cartesian problem: knowledge and awareness of meaning require a first-person viewpoint which is irreducible to the decomposition of algorithmic mechanisms. (shrink)

New forms of neoliberal femininity create demanding horizons of expectation for young women. For talented athletes, these pressures are intensified by the establishment of dual-career discourses that construct the combination of high-performance sport and education as a normative, ‘ideal’ pathway. The pressed time perspective inherent in dual-careers requires athletes to employ a variety of time-related skills, especially for young women who aim to live up to ‘superwoman’ ideals that valorize ‘success’ in all walks of life. Drawing on existential phenomenology, and (...) in-depth interviews with 10 talented Finnish sportswomen (aged 19-22), we explored their experiences of lived time when pursuing dual-careers in upper secondary sport schools. Exploring participants’ bodily experiences of inhabiting the achievement life-world, we analyze how these sportswomen either learned ways of living up to this ambitious script or came to understand the detrimental effects of the script, necessitating other ways of being. For those who experience a disjuncture between the ‘perfect’ and their embodied experience, self-care practices are needed to restore life-world harmony, and orient to alternative futures. (shrink)

In this paper we show that being blameworthy for not blaming and being blameworthy for victim blaming are structurally similar. Each involve the two traditional contours of moral responsibility: a knowledge condition and a control condition. But interestingly, in these cases knowledge and control are importantly interrelated. Being in a relationship with another person affords us varying degrees of knowledge about them. This knowledge in turn affords agents in relationships varying degrees of influence over one another. Cases where an agent (...) is especially blameworthy for failing to blame a friend, a close colleague, or a spouse highlight this. The interdependence of these two conditions in interpersonal relationships sheds (partial) light on why victim blaming is morally wrong. We argue that victim blamers suffer from a kind of moral myopia by only focusing on what the victim could do, in virtue of their being in a relationship of some sort with their abuser, to avoid abuse. We focus specifically on cases where such moral myopia is fueled by misogynistic and hierarchical gender schema and scripts. (shrink)

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is also (...) often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

This inquiry seeks to understand how the original form of writing in Mesopotamia—the small pictures and conventions of protocuneiform—became cuneiform, a script that could not be read without acquiring the neurological and behavioral reorganizations understood today as literacy. The process is described as involving small neurological and behavioral changes realized, accumulated, and distributed to new users through interactions with and concomitant incremental changes in the material form of writing. A related inquiry focuses on why and how numerical notations differ from (...) other written signs. Crucially, numerical signs instantiate their meaning, a representational mode that contrasts with the signification used to represent non-numerical language and which makes numerical notations contiguous with their unwritten precursors, technologies like fingers, tallies, and counters. Instantiation is related to the perceptual system for quantity; this so-called number sense influences the function and form of numerical signs. Reading is then discussed as a cognitive activity that necessarily involves a material form, a plausible example of extended cognition. Because numerical notations share function and often form with precursor technologies, if the former participate in extended cognition, the latter likely do as well. In conjunction with the contiguity between numerical notations and their unwritten precursors, this complicates the idea that (all) writing is (just) language. Finally, potential follow-on research is suggested. (shrink)

This introduction to the topical collection, Folk Psychology: Pluralistic Approaches reviews the origins and basic theoretical tenets of the framework of pluralistic folk psychology. It places special emphasis on pluralism about the variety folk psychological strategies that underlie behavioral prediction and explanation beyond belief-desire attribution, and on the diverse range of social goals that folk psychological reasoning supports beyond prediction and explanation. Pluralism is not presented as a single theory or model of social cognition, but rather as a big-tent research (...) program encompassing both revisionary and more traditionally inspired approaches to folk psychology. After reviewing the origins of pluralistic folk psychology, the papers in the current issue are introduced. These papers fall into three thematic clusters: Folk-psychological strategies beyond propositional attitude attribution ; Enculturation and regulative folk psychology ; and Defenses of pluralism. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in three (...) volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

The article presents a conceptual framework for distinguishing different sorts of heterogeneous digital materials. The hypothesis is that a wide range of heterogeneous data resources can be characterized and classified due to their particular configurations of hypertext features such as scripts, links, interactive processes, and time scalings, and that the hypertext configuration is a major but not sole source of the messiness of big data. The notion of hypertext will be revalidated, placed at the center of the interpretation of (...) networked digital media, and used in the analysis of the fast-growing amounts of heterogeneous digital collections, assemblages, and corpora. The introduction summarizes the wider background of a fast-changing data landscape. (shrink)

In “What is it like to be boring and myopic?” Kathleen Akins offers an interesting, empirically driven, argument for thinking that there is nothing that it is like to be a bat. She suggests that bats are “boring” in the sense that they are governed by behavioral scripts and simple, non-representational, control loops, and are best characterized as biological automatons. Her approach has been well received by philosophers sympathetic to empirically informed philosophy of mind. But, despite its influence, her (...) work has not met with any critical appraisal. -/- It is argued that a reconsideration of the empirical results shows that bats are not boring automatons, driven by short input-output loops, instincts, and reflexes. Grounds are provided for thinking that bats satisfy a range of philosophically and scientifically interesting elaborations of the general idea that consciousness is best understood in terms of representational functions. A more complete examination of bat sensory capabilities suggests there is something that it is like after all. -/- The discussion of bats is also used to develop an objection to strongly neurophilosophical approaches to animal consciousness. (shrink)

The multiple-choice video game Life is Strange was described by its French developers as a metaphor for the inner conflicts experienced by a teenager in trying to become an adult. In psychological work with adolescents, there is a stark similarity between what they experience and some concepts of existentialist philosophy. Sartre’s script for the movie Les Jeux Sont Faits (literally ‘‘games are made’’) uses the same narrative strategy as Life is Strange—the capacity for the main characters to travel back in (...) time to change their own existence—in order to stimulate philosophical, ethical, and political thinking and also to effectively simulate existential ‘‘limit situations.’’ This article is a dialogue between Sartre’s views and Life is Strange in order to examine to what extent questions such as what is freedom? what is choice? what is autonomy and responsibility? can be interpreted anew in hybrid digital–human—‘‘anthrobotic’’—environments. (shrink)

The present paper explores diffident and dissident practices reflected by the political talk at the end of the 19th-century in Romania. Relying on Jacques Rancière’s theories on the ‘aesthetic regime of politics,’ the introduction sketches a historical frame and proposes a focus change: the relation between ‘politics’ and ‘aesthetics’ does not stand on a set of literary cases, but on political scripts as such. Thus, the hypotheses investigated by the next three parts can be formulated as follows: 1. though (...) determined by an ideological direction (Conservative or Liberal), the political speech still preserves his tendency towards aesthetic autonomy. 2. oratorical merits (hinting at aesthetic autonomy) can turn into practices of political autonomy, diffidence and, then, dissidence. Methodologically, two types of aesthetic practices organize the chosen materials; both the diffident script and the theatre of dissidence help us to perceive how the philosophical and moral meaning of these practices could change into an ideology of dissidence. The formalization of diffident practices, their conversion to outspoken dissidence, also corresponds to the symmetrical symptom of unlimited authority; when old-time politicians warned on ‘Caesarism,’ ‘Vizierate,’ ‘Despotism,’ ‘Omnipotence’ or ‘Tyranny,’ the Romanian society had already been training for a long experience of ‘dictatorship.’. (shrink)

My project is to explain why the question ‘How does it feel to be a white problem?’ cannot be answered in the fluttering grammar of white talk. The whiteness of white talk lies not only in its having emerged from white mouths, but also in its evasiveness—in its attempt to suppress fear and anxiety, and its consequential [if unintended] reinscription and legitimation of racist oppression. I White talk is designed, indeed scripted, for the purposes of evading, rejecting, and remaining ignorant (...) about the injustices that flow from whiteness and its attendant privileges. I want to suggest a new point of entry—a way to flip the script, so to speak. -/- I begin with some observations about the basic advantages and disadvantages of using white talk as a route into the white problem. My account develops an expanded version of Alice MacIntyre’s definition of white talk that is attentive to the racialized bodily scripts that accompany white talk. I argue that white talk persists because it has an enduring and powerful moral, ontological, and epistemic pay off for white folks. I explore each payoff with an eye towards clarifying how white talk functions to maintain the illusion that we are invulnerable beings. Next, I pause to reply to the popular objection that this particular critique of white talk silences white people in conversations on race. If we cannot address the question ‘how does it feel to be a white problem’ in the fluttering grammar of white talk, then how shall we begin? In closing, I suggest that we might reduce fluttering by replacing white talk with a discourse of vulnerability, where vulnerability is defined not as weakness, but as a condition for potential. I offer some brief guidelines for how we might start this conversation. (shrink)

The modernization of Burgundy during the late nineteenth and early twentieth centuries drew on the coordinated efforts of numerous industrial and cultural sectors. Among these innovative developments, new tourism industries played a prominent role in providing new opportunities for the consumption of local products while redefining existing conceptions of Burgundian landscapes. This entailed collaboration of a variety of cultural intermediaries ranging from local boosters to politicians and from merchants to academics. Geographers contributed by incorporating symbolic, subjective, and performative practices into (...) the existing regional concepts of terroir and genres-de-vie. The result was newly scripted roles for tourists and locals to participate in gastronomic activities that, by virtue of the experience, altered participants’ experience of time, space, and themselves. Rapidly institutionalized in Burgundy, these developments illustrate how contemporary commercial interests influenced geographic notions of place in the French provinces. (shrink)

The design process in Kashmiri carpet weaving is distributed over a number of actors and artifacts and is mediated by a weaving notation called talim. The script encodes entire design in practice-specific symbols. This encoded script is decoded and interpreted via design-specific conventions by weavers to weave the design embedded in it. The cognitive properties of this notational system are described in the paper employing cognitive dimensions (CDs) framework of Green (People and computers, Cambridge University Press, Cambridge, 1989) and Blackwell (...) et al. (Cognitive technology: instruments of mind—CT 2001, LNAI 2117, Springer, Berlin, 2001). After introduction to the practice, the design process is described in ‘The design process’ section which includes coding and decoding of talim. In ‘Cognitive dimensions of talim’ section, after briefly discussing CDs framework, the specific cognitive dimensions possessed by talim are described in detail. (shrink)

It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I will (...) argue that Chinese characters still have semantic features that create image-like qualities in a wider sense: not mere resemblances between sign and object, but family resemblances in semantic fields. The fact that Chinese is an isolating and monosyllabic language is essential in this. (shrink)

The aim is to examine the performative acts and gender constitution in the context of the Second British Invasion. Despite the pervasive character of patriarchy and the prevalence of sexual difference as an operative cultural distinction, gender was not passively scripted on the bodies of many British singers. The subversive performances did not exclude suffering and marginalization but simultaneously undermined compulsory coherence.

This paper examines the relationship between violence and the domination of speech in Spinoza’s political thought. Spinoza describes the cost of such violence to the State, to the collective epistemic resources, and to the members of the polity that domination aims to script and silence. Spinoza shows how obedience to a dominating power requires pretense and deception. The pressure to pretend is the linchpin of an account of how oppression severely degrades the conditions for meaningful communication, and thus the possibilities (...) for thinking and acting in common. Because it belongs to human nature to desire to share our thoughts with others, Spinoza believes that most people experience efforts to control our communication to be acutely intolerable. As a result, such unbearable violence threatens the political order that deploys it. I conclude with some speculative remarks about why, in the Theological-Political Treatise, Spinoza consistently deploys the superlative form of the adjective violentus in reference to the domination of thought and speech rather than to other modes of political violence. (shrink)

Frederick Douglass, in his first autobiography, Narrative of the Life of Frederick Douglass, describes how his sociopolitical identity was scripted by the white other and how his spatiotemporal existence was likewise constrained through constant surveillance and disciplinary dispositifs. Even so, Douglass was able to assert his humanity through creative acts of resistance. In this essay, I highlight the ways in which Douglass refused to accept the other-imposed narrative, demonstrating with his life the truth of his being—a human being unwilling to (...) be classified as thing or property. As I engage selected passages and key events from Douglass's narrative, I likewise explore the ways in which the resistance tactics. (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)

This essay is my review of the classic TV series, Route 66. It was a classic “buddy movie,” with two young men who tour the country in a gorgeous 1956 Chevy Corvette, staying in various towns and working at various blue-collar jobs. The acting was generally superb, and the scripts were mainly written by the fine script writer Stirling Silliphant, and produced by the famous producer Herbert Leonard. I suggest that this 50-year-old series tells us a lot about cultural (...) change in America during that time. I suggest also that it helps demonstrate that the charge made by a famous cultural critic of the time—Newton Minow, who was Chairman of the Federal Communications Corporation from 1961 to 1963—that this period of commercial TV was a “vast wasteland” was not merely arrogantly elitist, but was in fact patently false. The 1950s and early 1960s saw many amazingly good series in a wide variety of genres. (shrink)

The paper discusses three aspects of belonging to religious systems of belief within a modern liberal society, namely (1) the sincerity and consistency of belief, (2) the possibility of exteriorization of belief through broader social interactions or transactions, and (3) the relationship between religious belief and the modern concept of affirmative tolerance, or affirmation of differences, which has become a pronounced public policy in multicultural liberal societies. The author argues that, while negative tolerance allows sincere religious belief to flourish in (...) the private sphere and for benevolence to be shown to those who are seen as mistaken in their beliefs, affirmative tolerance opens an array of logical issues. The demand to extend potential substantive validation to opposed beliefs produces the ricochet effect of de-validating one’s own beliefs. This creates difficulties for religious communities when issues at stake are beliefs that, in the respective belief-systems, are definitive of the moral goodness and moral badness. Upon a more careful examination of the logical relations between the soteriological promises characteristic of what is sometimes called the ‘substantive’ layer of religiousness, on the one hand, and the public expectation of a tolerant coexistence of religious communities on a social level, on the other hand, it becomes clear that the tolerance required can only be a negative tolerance. Any expectation of affirmative tolerance de-values the soteriological script of the respective system of religious belief, and is thus likely to lead to serious disturbances in a liberal context of multi-cultural coexistence. The author argues that the recent political announcements of a ‘failure of the multicultural experiment’ are caused by the aggressive pursuit of ‘affirmative tolerance’ rather than by any in-built intolerance of others in any of the large religious belief systems now prevalent in the liberal democratic world. (shrink)

Sex toys promote a new consumptive ethos whose significance may be adequately outlined by attending to the institutional implications of this product category’s consumption. By drawing on Foucault’s theory of sexuality and the technologies of the self that materialize with the aid of discursive formations about sexuality, as well as on relevant sociological and ethnographic insights, I undertake a qualitative content analysis on a corpus of 100 sex toys’ product reviews from popular magazines and web sites in order to identify (...) how the discourse about sex toys is articulated in terms of three dominant categories of sexual scripts (Simon and Gagnon 2007, Sexual scripts. In Richard Parker & Peter Aggleton (eds.), Culture, society, and sexuality: A reader, 29–38. London: Routledge), namely, cultural scenarios, interpersonal and intrapsychic scripts. By opening up the discussion to a broader cultural terrain, I outline how the consumption experience of sex toys, as articulated in the reviews’ discursive formations, facilitates the emergence of new consumer trends, particularly with reference to orgasm-on-the-go and no-touch-orgasm, while redefining existing ones. (shrink)

For one to simply think, philosophy as a rational investigation of truths and principles of knowledge, being, and conduct, that is, philosophy as a "science," is not required. For thinking, what requisite is a reason, a human endowment constitutive of one's intelligence. One only needs a mind to be able to think. But something more is exigent for one to think twice, is to think again, to reconsider and see something from a different perspective. To think things twice, one needs (...) a conscious apprehension of the notion of truth, a deliberate and critical engagement with principles, and a learned competency of habits of thinking that discloses the eternal freshness of reality. These are the elements that constitute philosophy not simply as a way of life, but as an academic discipline with methods and theories. Here lies philosophy's vocational relevance. Thinking things twice is not the mental disorder of indecisiveness or the unfortunate product of capriciousness. To think things twice is the stubborn instinct of human intelligence which remains restless in entrenched patterns of thought. The apprehension of the possibility of thinking things twice is the initial promise of liberation, the first step towards unshackling the mind and its powers from mental scripts that do not give birth to creativity. This explains why it is said that in the domain of philosophical discourses, questions always outlive their answers. Indeed, though philosophy, in its many faces and guises, has offered opinions, beliefs and sometimes divergent truths to the fundamental questions of life. The more important are the questions asked than the answers proffered. The convoluted transformations and shifting grounds in the history of ideas show to us how, philosophically considered, answers have no finality. (shrink)

Is it possible to recover lost moral ground? In the closing episodes of the TV show "Breaking Bad", it becomes clear that the protagonist, Walter White, believes that the correct answer to this question is an affirmative one. Walt believes that he can, and that he has, recovered lost moral ground. "Breaking Bad" may be said to explore two distinct and incompatible ways of attempting to recover lost moral ground. The first way is revisionist. This is to rewrite the script (...) of what, morally speaking, has occurred, so that it appears that nothing wrong was done. The second way is restorative. This is to admit to morally wrongful behavior, but to attempt to make amends for it. While we concede that it is possible to recover lost moral ground in both of these ways, we deny that Walt is able to do so in both of these ways. At best, Walt can only hope to recover lost moral ground by attempting to make amends for his past misdeeds. (shrink)

ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own traumatic (...) experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

Contemplative pedagogy focuses on creating a sense of presence within educators to effectively educate the whole person through mindfulness in teaching. As I engage in a self-study, I develop initial components for the way I employ contemplative pedagogy. I aim to understand myself as an educator in order to teach effectively. One way to enable particular kinds of understandings is through self-study methodology. The foundational framework that develops through my ongoing self-study may interest those who are unfamiliar with the terrain (...) of contemplative pedagogy. For the purposes of this article, I place an emphasis on the philosophy and ethics classes that I taught at Middlesex County College in New Jersey, although I teach several classes on many campuses. My philosophical method requires me to engage in a self-study of my teaching practices. My project involves self-study as a philosophical research methodology that aims to inform educators and rethink the theories and praxis of teaching. As I work towards improvement- aimed pedagogy, I make myself vulnerable as I share my experiences with my Peer Scholar. My Peer Scholar, which some researchers call a “critical friend”, deliberates with me to challenge epistemological assumptions along with suspicions. The self-study dialogue with my Peer Scholar causes me to define initial components of how I engage in an improvement-aimed contemplative pedagogy. My hope is to support those who wish to implement contemplative pedagogy in higher education as I relate my working framework based on the themes that developed from the deliberation. The components in the article that convey how I engage in contemplative pedagogy are not meant to serve as a checklist or stern procedure for classroom activities. I share these components as aspects of my contemplative pedagogy, with suggestive scripts, not as a rigid structure but rather as a work in progress that is always under construction. (shrink)

A complex, polyvalent phenomenon, the kiss, once embedded in a literary text, is first and foremost a cipher to be decoded. Texts effectively expose its many-sidedness: not merely its potentially seductive power or ostensible expression of affection, but, no less compellingly, its risky demeanors, its capacity to establish dominance, to terrorize, to subdue, to belittle, to ingratiate, even to infuriate. Variously bestowed, retracted, avowed, disavowed, meaningful, meaningless, the kiss can become, as it does in the work so named by Kate (...) Chopin, a multi-layered form of contrivance, the incarnation of tempting, albeit ultimately invidious, non-realities. Though, perhaps, not manifest at first blush, a careful reading reveals that each occasion marked by the “joining of lips” yields an odd sequence of awkward and oft deleterious, consequences: motion is superseded by motive, candor by disingenuousness—all in an unending slew of backward and forward slippages. Thus is engendered the metaphorization of an altered reality—structured all but exclusively upon the relentless deceits it proffers. Jubilation and despair come and go, as though wholly inter-changeable; acceptance and rejection, promulgation and rescission are converted into mere variants of the same gestures of ambivalence, if not of travesty. One might thus conclude that the kiss adopts significance worthy of note only as a metonym for and of factitiousness, vacuity and thinly-veiled distortion. Chopin’s script adeptly explores the multifarious comportments and consequences of the kiss: an act fashioned as a “weapon” of dubious value, as a tactical strategy, as a play-act borne of ulterior objectives and, which, as such, deftly prostitutes itself, willingly, nefariously. In the given context, the kiss-act lays bare the heroine’s ostensible “liberation” to be more imagined than real. Her would-be triumph over gendered subjugation exists, if at all, as but an ill-conceived romantic daydream—destined to slake gradually into a woeful destiny of loneliness and imprisonment. Chopin’s brief narration center-stages betrayal, challenges authenticity and valorizes consummate illegitimacy. -/- . (shrink)