This paper provides an exposition of the structuralist approach to underdetermination, which aims to resolve the underdetermination of theories by identifying their common theoretical structure. Applications of the structuralist approach can be found in many areas of philosophy. I present a schema of the structuralist approach, which conceptually unifies such applications in different subject matters. It is argued that two classic arguments in the literature, Paul Benacerraf’s argument on natural numbers and W. V. O. Quine’s argument for the indeterminacy of (...) translation, can be analyzed as instances of the structuralist schema. These two applications illustrate different kinds of conclusions that can be drawn through the structuralist approach; Benacerraf’s argument shows that we can derive an ontological conclusion about the given subject matter, while Quine’s structuralist approach leads to a semantic conclusion about how to determine linguistic meanings given radical translation. Then, as a case study, I review a recent debate in metaphysics between Shamik Dasgupta, Jason Turner, and Catharine Diehl to consider the extent to which different instances of the structuralist schema are conceptually unified. Both sides of the debate can be interpreted as utilizing the structuralist approach; one side uses the structuralist approach for an ontological conclusion, while the other side relies on a semantic conclusion. I argue that this has a strong dialectical consequence, which sheds light on the conceptual unity of the structuralist approach. (shrink)

This study aims to corroborate Merleau-Ponty’s interpretations of fundamental ideas from Saussure’s linguistics by linking them to works that were independently elaborated by Jan Mukařovský, Czech structuralist aesthetician and literary theorist. I provide a comparative analysis of the two authors’ theories of language and their interpretations of thought as fundamentally determined by language. On this basis, I investigate how they conceive linguistic innovation and its translation into changes in the constituted language and other social codes and institutions. I explain (...) how they elaborate on Saussure’s idea of language as a system of oppositions by interpreting cultural innovation as a systematic variation of pre-established social norms and, similarly, linguistic innovation as gesturing within language. Connectedly, I show how Mukařovský’s works help clarify Merleau-Ponty’s focus on the gestural dimension of language. By discussing the two thinkers’ arguments in favour of linguistic innovation, I explore what could be called phenomenological limits of structuralism. (shrink)

In the book "Experiential Philosophy- Body-based Wisdom and Challenges to Western Thought', Professors Lakoff and Johnson divided cognitive science into the first generation of cognitive science (based on British-American analytical philosophy and a Priori philosophy) and the second generation of cognitive science (based on experiential philosophy, emphasizing: the experiential nature of the mind, the unconscious nature of cognition, and the metaphorical nature of thinking), expounded the characteristics of the two generations of cognitive science and the differences between the two, and (...) firmly believed that cognitive linguistics is based on the second generation of cognitive science theory, which is a reaction to structuralism and generative schools, thereby clarifying cognitive linguistics. Some basic points of view. (shrink)

The prevailing judgement concerning Merleau-Ponty’s encounter with Saussure’s linguistics is that, although important for the evolution of Merleau-Ponty’s philosophy of language, it was based on a mistaken or at least highly idiosyncratic interpretation of Saussure’s ideas. Significantly, the rendering of Saussure that has been common both in Merleau-Ponty scholarship and in linguistics hinges on the structuralist development of the Genevan linguist’s ideas. This article argues that another reading of Saussure, in the light of certain passages of the Course (...) of General Linguistics forgotten by the structuralists, and of the manuscripts related to the published works, shows to the contrary that Merleau-Ponty’s account was sustainable. An understanding of Saussure’s ideas that does not flinch from their paradoxical features can elucidate the French phenomenologist’s views on language and expression. Moreover, the “linguistic turn” in Merleau-Ponty’s philosophical development, identified by James Edie for example, does not seem to have been so clear-cut as has previously been believed; the influence of Saussure’s thought had certainly begun before Merleau-Ponty wrote Phenomenology of Perception -/- En français: « La rencontre de Merleau-Ponty avec la linguistique saussurienne : lecture fautive, réinterpretation ou prolongement ? » Inspirée de la linguistique Saussurienne, la philosophie du langage de Merleau-Ponty a souvent été considérée comme une interprétation erronée des idées de Ferdinand de Saussure ou tout du moins comme une traduction singulière de son œuvre. On remarque cependant que la relecture critique du linguiste genevois, qu’elle soit effectuée à partir de l’œuvre merleau-pontienne ou, plus généralement, dans le champ de la linguistique, repose en grande partie sur les modes d’analyse structuralistes. À la lumière de certains passages du Cours de linguistique générale négligés par les structuralistes, et des manuscrits qui se rapportent aux œuvres publiées, cet article défendra l’idée que l’interprétation de la pensée saussurienne par Merleau-Ponty reste à bien des égards pertinente, pour autant qu’elle ne recule pas devant les traits paradoxaux résultant de la pensée saussurienne. Un questionnement de la pensée de Saussure ne reculant pas devant ses traits paradoxaux peut contribuer à accroître notre compréhension des notions de langage et d’expression chez le phénoménologue français. Dans ce cadre, le « tournant linguistique » merleau-pontien, décrit par James Edie, ne paraît pas aussi net que l’on l’a soutenu auparavant : l’influence de la pensée de Saussure s’est certainement faite sentir avant l’écriture de Phénoménologie de la perception. (shrink)

In appearance, Husserl’s writings seem not to have had any influence on linguistic research, nor does what the German philosopher wrote about language seem to be worth a place in the history of linguistics. The purpose of the paper is exactly to contrast this view, by reassessing both the position and the role of Husserl’s early masterpiece — the Logical Investigations — within the history of linguistics. To this end, I will focus mainly on the third (On the (...) theory of wholes and parts) and fourth (The distinction between independent and non-independent meanings) Investigations, paying special attention to Husserl’s mereology and to the idea of a general pure grammar. The paper tries to situate the third and fourth Logical Investigation within the general context of late nineteenth-century and early twentieth-century linguistics and furthermore attempts to show the historical and theoretical importance of the Logical Investigations for the birth and the development of one of the most important linguistic “schools” of the twentieth century, namely structural linguistics. (shrink)

Stawarska considers the ambiguities surrounding the antagonism between the phenomenological and the structuralist traditions by pointing out that the supposed foundation of structuralism, the Course in General Linguistics, was ghostwritten posthumously by two editors who projected a dogmatic doctrine onto Saussure’s lectures, while the authentic materials related to Saussure’s linguistics are teeming with phenomenological references. She then narrows the focus to Merleau-Ponty’s engagement with Saussure’s linguistics and argues that it offers an unusual, if not an uncanny, (...) reading of the Course, in that it identifies a phenomenological dimension within the text, against the grain of the dominant structuralist claim. This phenomenological dimension is corroborated by the authentic sources of Saussure’s linguistics, even though the latter were beyond the philosopher’s own power to know. Merleau-Ponty’s unorthodox reading of the Course as being broadly compatible with the tradition of Husserlian phenomenology has been dismissed as an error and a contresens , but Stawarska proposes that such deviant appropriations of foundational texts are the ones to cherish the most, since they effectively dismantle the received dogmas and official doctrines stuffing the cabinets of canonical philosophy. She argues specifically that Merleau-Ponty’s contested distinction between “a synchronic linguistics of speech ” and “a diachronic linguistics of language ” , which gives primacy to la parole over la langue, and raises the possibility of a systematic study of la parole, contains a more faithful response to Saussure’s own project than the received structuralist view that la langue alone constitutes the proper object of linguistic study. (shrink)

My aim in this chapter is to extend the Realist account of the foundations of linguistics offered by Postal, Katz and others. I first argue against the idea that naive Platonism can capture the necessary requirements on what I call a ‘mixed realist’ view of linguistics, which takes aspects of Platonism, Nominalism and Mentalism into consideration. I then advocate three desiderata for an appropriate ‘mixed realist’ account of linguistic ontology and foundations, namely (1) linguistic creativity and infinity, (2) (...) linguistics as a theory of types (and not tokens) and (3) independence but structural respect between language and the linguistic competence thereof. My own brand of mixed realism, what I call ante rem realism, is defended along the lines of an ante rem or non-eliminative structuralism, the likes of which has been offered for mathematics by Resnik (1997) and Shapiro (1997). In other words, grammars describe a mind-independent (but not necessarily unconnected) linguistic reality in terms of linguistic patterns or structures also known as natural languages. I further amend this picture to allow for the possibility of a naturalistic account of language acquisition and evolution by arguing against a particular view of the type-token distinction. (shrink)

In this essay, I follow the lead of recent scholarship in Saussure linguistics and critically examine the Saussurean doctrine associated with the Course in General Linguistics, which later became a hallmark of structuralism. Specifically, I reconstruct the history of the concluding sentence in the Course which establishes the priority of la langue over everything deemed external to it. This line assumed the status of an oft-cited ‘famous formula’ and became a structuralist motto. The ‘famous formula’ was, however, (...) freely inserted by the editors of the Course who effectively ghostwrote the book after Saussure’s death, and authored a series of early book-reviews of the same text in dedicated scholarly venues. I argue that the editorial success turning their vision of Saussure’s teaching into official doctrine was enabled in part by the dominant social structures regulating twentieth-century European academia. (shrink)

Is there, according to Bakhtin, such a thing as nobody’s or neutral words? Going over Bakhtin’s writings we might encounter an intriguing variety of answers to this question, ranging from a clear negative – there is no such thing – to a radical positive – all words are neutral, are “nobody’s” – and with a few other variants in between. This paper examines this puzzle both in its own right and from the perspective of what it can teach us about (...) reading Bakhtin’s texts. I propose that Bakhtin’s conception of language has remained stable (even if not quite unchanged) in works from all periods, and link this conception to his early ethical philosophy (with an emphasis on the influence of Søren Kierkegaard on it). Bakhtin is firmly committed to the position that nobody’s words exist only in the abstract world of theory, and not in language as we speak it. This description also pertains to his own writing, which I maintain should be approached with a view to how other people’s voices are manipulated in it, rather than in the more literal fashion, in which scholarly works are usually studied. (shrink)

Mohammad Arkoun (1928-2010) Muslim intellectual, offered "Islamic Criticism" projects, "Applied Islamology" and finally the "Critical Rational Future" project "Negar" with the aim of reviewing and transforming the understanding of the religious text and offering solutions to overcome the decline of Islamic civilization. His main scheme is the critique of Islamic reason, but the methodology is Applied Islamology. Arkoun projects are one of the first projects in the Islamic-Arab world, which have read the religious text based on new Western approaches. Research (...) Methods and Questions: This study uses a descriptive-analytical approach to examine the impact and application of Western approaches in religious texts reading in the thought of Mohammad Arkoun. The questions considered in this research are: What are the most important practical approaches of Arkoun in religious texts reading? What is Arkoun 's aim using different Western approaches to read religious texts? What are Arkoun 's approaches in the Applied Islamology project? The aims of this research is to study the Western approaches considered by Arkoun in the field of religious texts reading and to examine the impact and application of Western approaches in the Applied Islamology project of Arkoun. Findings: Arkoun projects in particular Applied Islamology include a set of approaches such as structuralism, genealogy, poststructuralism, hermeneutics, etc. His ultimate aim in applying various Western approaches is to provide an active and capable methodology for critical of religious texts reading, definite break from dogmatic and Orientalist perspectives and also to replace these studies with studies based on positivist methods and traditional philology. Among all practical approaches of Arkoun in the field of reading religious texts, there are three approaches that have many manifestations in his thoughts and projects: First, the linguistic-semiotic approach to the study of the foundational age, second, Foucault's paleontological approach to read contemporary Islamic-Arab modern thought and third, Historical-Sociological Analysis for the study of Islam as a social phenomenon and the Events of the history of Islam after the Prophet (PBUH). (shrink)

Lexical semantics has a problem. As Allesandro Lenci put it, the problem is that it cannot distinguish semantic from non-semantic relationships within its data. (2008, 2014). The data it relies on are patterns of co-occurrence of lexemes within linguistic corpora. But patterns of co-occurrence can reflect either our knowledge of what the world is like or our knowledge of what words mean -- matters of fact or matters of meaning. -/- In this essay, I develop a semantic theory which draws (...) this distinction in a way which makes it discernible in lexical semantics and cognitive science research. In doing so, this theory unifies truth-functional and structuralist approaches to semantics, and provides an integrated explanation of meaning and reference. -/- I base this semantic theory on linguistic dispositions to pair words with words, and to pair words with things, both based on learned patterns of association. These dispositions manifest themselves in verbal behavior, and (in Part 2) I propose a new neurophysical model to account for these dispositions which underlie both the intensional and extensional patterns in that behavior. (shrink)

Moritz Schlick, Rudolf Carnap and Herbert Feig are the most prominent of the positivists to formulate views on the mind-body problem (aside from Hempel’s one-off treatment in 1935). While their views differed from each other and changed over time they were all committed to some form of scientific physicalism, though a linguistic or conceptual rather than ontological form of it. In focus here are their views during the heyday of logical positivism and its immediate aftermath, though some initial scene-setting of (...) Schlick’s and Carnap’s pre-positivist views will help to understand the final opposing positions of Carnap and Feigl. (shrink)

This essay centers on the notion of the symbolic and its impact as developed by Claude Lévi-Strauss in his Introduction to the Work of Marcel Mauss. I examine Lévi-Strauss’ formulation of the “floating signifier” and its influence in French thought, particularly in the work of Jacques Lacan and Jacques Derrida. In doing so, I argue that Lévi-Strauss’ notion may be a misreading of the structural linguistics of Ferdinand de Saussure that has important implications for contemporary political issues on the (...) left in both theory and practice. (shrink)

Taking as starting point Kuhn’s analysis of science textbooks and its application to Sinnott and Dunn’s (1925), it will be discussed the problem of the existence of laws in biology. In particular, it will be showed, in accordance with the proposals of Darden (1991) and Schaffner (1980, 1986, 1993), the relevance of the exemplars, diagrammatically or graphically represented, in the way in which is carried out the teaching and learning process of classical genetics, inasmuch as the information contained in them, (...) indispensable for the right development of that process, exceeds the information contained in the “laws” linguistically articulated and presented in the textbooks. However, it will be maintained that the information is implicit in the law that according to the structuralist concept of fundamental law and the reconstruction of genetics presented by Balzer & Dawe (1990), and later developed by Balzer & Lorenzano (1997) and Lorenzano (1995, 2000, 2002a) could be considered the fundamental law of classical genetics,the law of matching, clearly identified in this paper. (shrink)

In this article I give an overview of some recent work in philosophy of science dedicated to analysing the scientific process in terms of (conceptual) mathematical models of theories and the various semantic relations between such models, scientific theories, and aspects of reality. In current philosophy of science, the most interesting questions centre around the ways in which writers distinguish between theories and the mathematical structures that interpret them and in which they are true, i.e. between scientific theories as linguistic (...) systems and their non-linguistic models. In philosophy of science literature there are two main approaches to the structure of scientific theories, the statement or syntactic approach -- advocated by Carnap, Hempel and Nagel -- and the non- statement or semantic approach --advocated, among others, by Suppes, the structuralists, Beth, Van Fraassen, Giere, Wojcicki. In conclusion, I briefly review some of the usual realist inspired questions about the possibility and character of relations between scientific theories and reality as implied by the various approaches I discuss in the course of the article. The models of a scientific theory should indeed be adequate to the phenomena, but if the theory is 'adequate' to (true in) its conceptual (mathematical) models as well, we have a model-theoretic realism that addresses the possible meaning and reference of 'theoretical entities' without relapsing into the metaphysics typical of the usual scientific realist approaches. (shrink)

A model-theoretic realist account of science places linguistic systems and their corresponding non-linguistic structures at different stages or different levels of abstraction of the scientific process. Apart from the obvious problem of underdetermination of theories by data, philosophers of science are also faced with the inverse (and very real) problem of overdetermination of theories by their empirical models, which is what this article will focus on. I acknowledge the contingency of the factors determining the nature – and choice – of (...) a certain model at a certain time, but in my terms, this is a matter about which we can talk and whose structure we can formalise. In this article a mechanism for tracing "empirical choices" and their particularized observational-theoretical entanglements will be offered in the form of Yoav Shoham's version of non-monotonic logic. Such an analysis of the structure of scientific theories may clarify the motivations underlying choices in favor of certain empirical models (and not others) in a way that shows that "disentangling" theoretical and observation terms is more deeply model-specific than theory-specific. This kind of analysis offers a method for getting an articulable grip on the overdetermination of theories by their models – implied by empirical equivalence – which Kuipers' structuralist analysis of the structure of theories does not offer. (shrink)

Nineteen fifty-eight was an extraordinary year for cultural innovation, especially in English literature. It was also a year in which several boldly revisionary positions were first articulated in analytic philosophy. And it was a crucial year for the establishment of structural linguistics, of structuralist anthropology, and of cognitive psychology. Taken together these developments had a radical effect on our conceptions of individual creativity and of the inheritance of tradition. The present essay attempts to illuminate the relationships among these developments, (...) and to explain the foundational role played by mathematical, logical and information theory in all of them. (shrink)

This essay offers an original interpretation and defense of the doctrine of flux, as it is presented in Plato’s Theaetetus. The methodology of the paper’s analysis is in the style of rational reconstruction, and it is highly analytic in scope, in the sense that I will focus on the text itself, and only on certain parts of it too, while ignoring the rest of Plato’s extensive corpus, and without worrying about whether, how, and to what extent the interpretation of the (...) view coheres well with the other elements of the secret doctrine view discussed in the dialogue, as well. In the first part of the essay, I’ll offer my interpretation of the doctrine. Then, in the second part of the essay, I’ll examine two potential criticisms of the doctrine, including Socrates’s infamous linguistic paradox, and show how my interpretation of Heraclitean flux metaphysics is able to circumvent both. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (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)

(1) This is Part 2 of the semantic theory I call TM. In Part 1, I developed TM as a theory in the analytic philosophy of language, in lexical semantics, and in the sociology of relating occasions of statement production and comprehension to formal and informal lexicographic conclusions about statements and lexical items – roughly, as showing how synchronic semantics is a sociological derivative of diachronic, person-relative acts of linguistic behavior. I included descriptions of new cognitive psychology experimental paradigms which (...) would allow us to precisely measure the two constituents of semantics – meaning and reference – both at the level of individual speech acts and at the level of societal convergences, i.e. at both the token and type levels. -/- (2) In the Introduction, I recapitulate the arguments of Part 1. The Introduction also develops some analytic philosophical and lexical semantics themes not discussed in Part 1. -/- (3) After the Introduction, I present neural TM (nTM) as a theory of the neural mechanisms and processes which give rise to these person/occasion-relative acts of linguistic behavior. I develop nTM at three levels, the first two of which describe linguistic/semantic functions independently of their cortical locations. At the first level, I describe individual word-to-word and word-to-object connections. At the second level, I describe the corresponding structuralist networks of which they are the individual components. At this level, I introduce some key linguistic concepts of TM – its graded meaning, reference, and generalization sets, and the types of statements which express various levels of word-to-word and word-to-object relationships among lexical items which, because of the constraints they impose on the use of those lexical items in statements we produce and comprehend, are concepts. This constitutes the second structural level of nTM. -/- (4) At the third level, I associate the non-localized structures of the previous levels with cortically located neural structures and with the fasciculi that connect them. I distinguish neural areas in which primary (phonetic) and secondary (orthographic) lexicons are stored in long-term memory. I also describe the embodied concepts which co-exist in the anterior temporal lobes with the images they lexicalize. These concepts are often said to name physical objects and their features, although what they in fact name are kinds of physical objects and features. I describe how conceptual constraints and referential constraints interact to channel our intentions to say how things are into statements which are semantically well-formed, and which consequently successfully communicate information. -/- (5) Following this presentation of nTM, I examine five prominent neural semantic theories. I point out what is wrong with each of them as far as their explanations of semantics are concerned, and I also indicate how nTM can replace the “semantic cores” of those theories. -/- (6) The two basic mistakes made by neuroscience semantic theories, as I will explain, are (i) that all but one of them regard semantics as a matter of the association of words with perceptual images, and of generalizations from those associations; and (ii) that they all rely on an unspecified set of neural structures which purportedly encode the meaning of concepts in abstraction from their phonological and orthographic forms. nTM maintains, in contrast, that there are no abstract neural representations of semantic content. Neural constraints on our linguistic behavior, especially on our ascriptive and co-ascriptive use of words, express the semantic constraints on those words which make them concepts. That is the semantic content of words. -/- (7) I next consider several results from neuroscience experimental data which have been given one interpretation by one or another of the standard neurosemantic theories, but to which nTM gives a different interpretation. I include several predictions which I have found neither confirmed nor disconfirmed in the experimental neuroscience literature. -/- (8) After a concluding section in which I summarize the major changes to neurosemantic theory introduced by TM, and the analytic philosophy of language and lexical semantics contexts within which TM is situated, there follows an appendix in which I discuss neural net AI, and make some recommendations for implementing nTM in silicon. (shrink)

In this paper I propose to describe, in brief, a semiotic paradigm which results from the redefinition of the linguistic sign as a molecular sememe. Borrowing a tactic from Wittgenstein, I wish to use the game of chess as an analogy for the sake of describing what a molecular sememe is. Then I hope to use it further to sketch several implications of this semiotic paradigm for literary criticism and critical theory.

The paper explicates the stages of the author’s philosophical evolution in the light of Kopnin’s ideas and heritage. Starting from Kopnin’s understanding of dialectical materialism, the author has stated that category transformations of physics has opened from conceptualization of immutability to mutability and then to interaction, evolvement and emergence. He has connected the problem of physical cognition universals with an elaboration of the specific system of tools and methods of identifying, individuating and distinguishing objects from a scientific theory domain. The (...) role of vacuum conception and the idea of existence (actual and potential, observable and nonobservable, virtual and hidden) types were analyzed. In collaboration with S.Crymski heuristic and regulative functions of categories of substance, world as a whole as well as postulates of relativity and absoluteness, and anthropic and self-development principles were singled out. Elaborating Kopnin’s view of scientific theories as a practically effective and relatively true mapping of their domains, the author in collaboration with M. Burgin have originated the unified structure-nominative reconstruction (model) of scientific theory as a knowledge system. According to it, every scientific knowledge system includes hierarchically organized and complex subsystems that partially and separately have been studied by standard, structuralist, operationalist, problem-solving, axiological and other directions of the current philosophy of science. 1) The logico-linguistic subsystem represents and normalizes by means of different, including mathematical, languages and normalizes and logical calculi the knowledge available on objects under study. 2) The model-representing subsystem comprises peculiar to the knowledge system ways of their modeling and understanding. 3) The pragmatic-procedural subsystem contains general and unique to the knowledge system operations, methods, procedures, algorithms and programs. 4) From the viewpoint of the problem-heuristic subsystem, the knowledge system is a unique way of setting and resolving questions, problems, puzzles and tasks of cognition of objects into question. It also includes various heuristics and estimations (truth, consistency, beauty, efficacy, adequacy, heuristicity etc) of components and structures of the knowledge system. 5) The subsystem of links fixes interrelations between above-mentioned components, structures and subsystems of the knowledge system. The structure-nominative reconstruction has been used in the philosophical and comparative case-studies of mathematical, physical, economic, legal, political, pedagogical, social, and sociological theories. It has enlarged the collection of knowledge structures, connected, for instance, with a multitude of theoreticity levels and with an application of numerous mathematical languages. It has deepened the comprehension of relations between the main directions of current philosophy of science. They are interpreted as dealing mainly with isolated subsystems of scientific theory. This reconstruction has disclosed a variety of undetected knowledge structures, associated also, for instance, with principles of symmetry and supersymmetry and with laws of various levels and degrees. In cooperation with the physicist Olexander Gabovich the modified structure-nominative reconstruction is in the processes of development and justification. Ideas and concepts were also in the center of Kopnin’s cognitive activity. The author has suggested and elaborated the triplet model of concepts. According to it, any scientific concept is a dependent on cognitive situation, dynamical, multifunctional state of scientist’s thinking, and available knowledge system. A concept is modeled as being consisted from three interrelated structures. 1) The concept base characterizes objects falling under a concept as well as their properties and relations. In terms of volume and content the logical modeling reveals partially only the concept base. 2) The concept representing part includes structures and means (names, statements, abstract properties, quantitative values of object properties and relations, mathematical equations and their systems, theoretical models etc.) of object representation in the appropriate knowledge system. 3) The linkage unites a structures and procedures that connect components from the abovementioned structures. The partial cases of the triplet model are logical, information, two-tired, standard, exemplar, prototype, knowledge-dependent and other concept models. It has introduced the triplet classification that comprises several hundreds of concept types. Different kinds of fuzziness are distinguished. Even the most precise and exact concepts are fuzzy in some triplet aspect. The notions of relations between real scientific concepts are essentially extended. For example, the definition and strict analysis of such relations between concepts as formalization, quantification, mathematization, generalization, fuzzification, and various kinds of identity are proposed. The concepts «PLANET» and «ELEMENTARY PARTICLE» and some of their metamorphoses were analyzed in triplet terms. The Kopnin’s methodology and epistemology of cognition was being used for creating conception of the philosophy of law as elaborating of understanding, justification, estimating and criticizing legal system. The basic information on the major directions in current Western philosophy of law (legal realism, feminism, criticism, postmodernism, economical analysis of law etc.) is firstly introduced to the Ukrainian audience. The classification of more than fifty directions in modern legal philosophy is suggested. Some results of historical, linguistic, scientometric and philosophic-legal studies of the present state of Ukrainian academic science are given. (shrink)

In his Twilight of the Idols, Friedrich Nietzsche praises Heraclitus, the Greek pre-Socratic, for his “assertion that being is an empty fiction.” 1 The philosophical notion of being, which seems to refer to fixed entities or substances, is eclipsed (at least in the mind of Nietzsche [and perhaps other philosophers—Gilles Deleuze comes to mind]) by the notion of becoming. As a result of our innate nothingness—which I defend linguistically, via the structuralist concept of the arbitrary nature of the linguistic sign—it (...) would seem that we do, in fact, lack a fixed internal essence. Rather, we are constantly redefining (and free to redefine) our being, which is never fixed. It would seem that “un-fixed” being is becoming. In my paper, I aim to track this notion of becoming, as directly opposed to being, through two literary instances: the biblical Christ, and the philosopher-author Nikos Kazantzakis’ Zorba the Greek. (shrink)

Propaganda is one of the most apparent avenues of ideological struggle. Amidst the battlefield in the social consciousness, the purpose of this study is to forward revolutionary ideology through intensification of revolutionary propaganda, specifically the pamphlet. It is a crucial step for revolutionaries in the aim to forward their methods of propaganda writing to overcome the illness of stereotypical propaganda writing as described by Mao Zedong. Stereotypical propaganda writing in the practice of progressive propaganda leads to a genesis of a (...) manufactured language characterized by the alienation of the masses from the language of revolutionaries and the alienation of revolutionary-propagandists from the practical experience of the masses. To overcome stereotypical propaganda writing, revolutionary propagandists must have a semiotic framework and a dialectical-materialist understanding of their relationship as Author-propagandists with the Reader-masses. By incorporating modest authorial-intentionalism from E.D. Hirsch and the Model-Reader theory of Umberto Eco into textual relationships, the role and the purpose of the sign as a medium in communicating ideologies can be established. In the process, it poses an alternative against the prevalent post-structuralist view of semantic autonomy and reader-response theory in the field of literary criticism. This paper also uses V.N. Voloshinov’s linguistic theory as the framework for semantico-pragmatic linguistic relations and social intercourse as the material base of the sign. (shrink)

Narrativity is basically linked to the dynamics of the events and actions which are told and it depends on the pragmatic context, mainly on the narrator and his audience, i.e. on the discursive setting. These dynamics ask for an adequate theoretical frame, e.g. in the format of dynamical system theory or vector analysis. Furthermore, narrativity can be manifested in different modalities. We shall present some specimens of analysis in the linguistic modality (spontaneous oral tales, folktales), in the visual modality (painting (...) by Leonardo da Vinci, action movie in the series of Bond films), and in the musical modality (Blues music). The static analyses in the tradition of structuralism are replaced by morphodynamic schemes, by gesture and glance vectors, paths of pursuit and scenarios of conflict in action movies and eventually by harmonic sequences in the Blues. In this dynamic perspective, the notion of narrativity gains a different profile and it is freed from the preference for linguistic or logical categories. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (shrink)

For Merleau-Ponty, the question of phenomenological method was always connected to the problem of expression, in that the results of successful expression can for him amount to a catching of the world “in its nascent state”. In other words, elucidating the phenomena as they show themselves demands a certain amount of creativity to come through. But even though creative expression is without doubt of chief importance for Merleau-Ponty, it is not so easy to determine what exactly it consists in. Minimally, (...) it is more demanding than simply repeating an already formulated expression. On the other hand, it cannot start from nothing – we must begin within an existing tradition, with its acquired expressions, that we somehow take up and transform. A recurrent image of creative expression comes from Malraux, who claimed that it is a “coherent deformation” of what is given in the world. In this paper, I will use Saussure’s principle of analogy to throw light upon the notion of coherent deformation and of creativity. Although Merleau-Ponty merely mentions this principle in passing, I argue that it can clarify the productivity of language that he saw as crucial also for Saussure’s linguistics. (shrink)