In apparent motion experiments, participants are presented with what is in fact a succession of two brief stationary stimuli at two different locations, but they report an impression of movement. Philosophers have recently debated whether apparent motion provides evidence in favour of a particular account of the nature of temporal experience. I argue that the existing discussion in this area is premised on a mistaken view of the phenomenology of apparent motion and, as a (...) result, the space of possible philosophical positions has not yet been fully explored. In particular, I argue that the existence of apparent motion is compatible with an account of the nature of temporal experience that involves a version of direct realism. In doing so, I also argue against two other claims often made about apparent motion, viz. that apparent motion is the psychological phenomenon that underlies motion experience in the cinema, and that apparent motion is subjectively indistinguishable from real motion. (shrink)

Austere relationism rejects the orthodox analysis of hallucinations and illusions as incorrect perceptual representations. In this article, I argue that illusions of optimal motion present a serious challenge for this view. First, I submit that austere-relationist accounts of misleading experiences cannot be adapted to account for IOMs. Second, I show that any attempt at elucidating IOMs within an austere-relationist framework undermines the claim that perceptual experiences fundamentally involve relations to mind-independent objects. Third, I develop a representationalist model of IOMs. (...) The proposed analysis combines two ideas: Evans' dynamic modes of presentation and Fine's relational semantics for identity. (shrink)

Kant, Wittgenstein, and Husserl all held that visual awareness of objects requires visual awareness of the space in which the objects are located. There is a lively debate in the literature on spatial perception whether this view is undermined by the results of experiments on a Balint’s syndrome patient, known as RM. I argue that neither of two recent interpretations of these results is able to explain RM’s apparent ability to experience motion. I outline some ways in which (...) each interpretation may respond to this challenge, and suggest which way of meeting the challenge is preferable. I conclude that RM retains some awareness of the larger space surrounding the objects he sees. (shrink)

Shepard has supposed that the mind is stocked with innate knowledge of the world and that this knowledge figures prominently in the way we see the world. According to him, this internal knowledge is the legacy of a process of internalization; a process of natural selection over the evolutionary history of the species. Shepard has developed his proposal most fully in his analysis of the relation between kinematic geometry and the shape of the motion path in apparent (...) class='Hi'>motion displays. We argue that Shepard has made a case for applying the principles of kinematic geometry to the perception of motion, but that he has not made the case for injecting these principles into the mind of the percipient. We offer a more modest interpretation of his important findings: that kinematic geometry may be a model of apparent motion. Inasmuch as our recommended interpretation does not lodge geometry in the mind of the percipient, the motivation of positing internalization, a process that moves kinematic geometry into the mind, is obviated. In our conclusion, we suggest that cognitive psychologists, in their embrace of internal mental universals and internalization may have been seduced by the siren call of metaphor. Key Words: apparent motion; imagery; internalization; inverse projection problem; kinematic geometry; measurement; metaphors of mind. (shrink)

abstract Postdiction effects are phenomena in which a stimulus influences the appearance of events taking place before it. In metacontrast masking, for instance, a masking stimulus can ren- der a target stimulus shown before the mask invisible. This and other postdiction effects have been considered incompatible with a simple explanation according to which (i) our perceptual experiences are delayed for only the time it takes for a distal stimulus to reach our sensory receptors and for our neural mechanisms to process (...) it, and (ii) the order in which the processing of stimuli is completed corresponds with the apparent temporal order of stimuli. As a result, the theories that account for more than a single postdiction effect reject at least one of these theses. This paper presents a new framework for the tim- ing of experiences—the non-linear latency difference view—in which the three most dis- cussed postdiction effects—apparent motion, the flash-lag effect, and metacontrast masking—can be accounted for while simultaneously holding theses (i) and (ii). This view is grounded in the local reentrant processes, which are known to have a crucial role in perception. Accordingly, the non-linear latency difference view is both more parsimonious and more empirically plausible than the competing theories, all of which remain largely silent about the neural implementation of the mechanisms they postulate. (shrink)

According to the Self-Location Thesis, one’s own location can be among the things that visual experience represents, even when one’s body is entirely out of view. By contrast, the Minimal View denies this, and says that visual experience represents things only as "to the right", etc., and never as "to the right of me". But the Minimal View is phenomenologically inadequate: it cannot explain the difference between a visual experience of self-motion and one of an oppositely moving world. To (...) show this, I argue (i) that these experiences are different in an important respect, (ii) that this difference is genuinely experiential, (iii) that it is visual, (iv) that it is not purely phenomenal, and (v) that it cannot be identified with anything other than the apparent motion of the self. So the Self-Location Thesis is upheld: reports of one’s own motion can correspond to aspects of visual experiences every bit as basic to their contents as the apparent motion or rest of the things one has in view. (shrink)

This article develops a view of shape representation both in visual experience and in subpersonal visual processing. The view is that, in both cases, shape is represented in a ‘layered’ manner: an object is represented as having multiple shape properties, and these properties have varying degrees of abstraction. I argue that this view is supported both by the facts about visual phenomenology and by a large collection of evidence in perceptual psychology. Such evidence is provided by studies of shape discriminability, (...) apparent motion, multiple-object tracking, and structure-from-motion. Recent neuroscientific work has also corroborated this psychophysical evidence. Finally, I draw out implications of the layered view for processes of concept acquisition. 1 Introduction2 Metric Properties andShape Properties3 Metric Views4 Against Metric Views of Visual Shape Experience5 The Visual System Uses Abstract Shape Properties6 Against Metric Views of Visual Shape Representation7 Neural Underpinnings of Abstract Shape Perception8 Implications. (shrink)

This paper argues that the accuracy of perceptual experiences cannot be properly characterized by using the particular notion of content without breaking one of the three plausible assumptions. On the other hand, the general notion of content is not threatened by this problem. The first assumption is that all elements of content determine the accuracy conditions of an experience. The second states that objects needed for the accuracy of experiences are physical entities that stand in a perceptual relation to a (...) subject. According to the third assumption, common experiences do not have accuracy conditions that are impossible to satisfy. The above point is demonstrated by analysing illusions of identity in which the number of objects is represented incorrectly. In the concluding parts of the paper, I investigate how an alternative account of particular content can be developed by rejecting the first assumption. (shrink)

There is an apparent tension in Shepherd’s accounts of space and time. Firstly, Shepherd explicitly claims that we know that the space and time of the unperceived world exist because they cause our phenomenal experience of them. Secondly, Shepherd emphasizes that empty space and time do not have the power to effect any change in the world. My proposal is that for Shepherd time has exactly one causal power: to provide for the continued existence of self-same or changing objects. (...) Because Shepherd takes causation to be a relation whereby two objects combine to form a third, their effect, whenever we perceive a continually existing object, since time is a proper part of such objects, our perception of time is caused by time itself. Likewise, space’s causal power is to provide for the possibility of the motion or rest of objects, and so when we perceive objects with space as a proper part, we come into causal contact with space. (shrink)

ABSTRACT. In his Letters on the motion impressed by a moving mover, Gassendi offers a theory of the motion of composite bodies that closely follows Galileo’s. Elsewhere, he describes the motion of individual atoms in very different terms: individual atoms are always in motion, even when the body that contains them is at rest; atomic motion is discontinuous although the motion of composite bodies is at least apparently continuous; and atomic motion is grounded (...) in an intrinsic vis motrix, motive power, while composite bodies simply persist in their state of motion or rest in the absence of outside intereference. Gassendi does not make much effort to explain how his accounts of atomic and composite motion fit together, and it’s difficult to see how they could possible be integrated. My goal is to explain, given this difficulty, why he accepted both the Galilean theory of the motion of composite bodies and the Epicurean theory of atomic motion. (shrink)

Color-motion asynchrony (CMA) refers to an apparent lag of direction of motion when a dynamic stimulus changes both color and direction at the same time. The subjective order of simultaneous events, however, is not only perceptual but also subject to illusions during voluntary actions. Self-initiated actions, for example, seem to precede their sensory outcomes following an adaptation to a delay between the action and the sensory feedback. Here, we demonstrate that the extent of the apparent asynchrony (...) can be substantially reduced when direction change is induced by a voluntary key press following a delay adaptation regime. We also show that the reduced color-motion asynchrony effect size following a motor-sensory recalibration is not a result of a change in the onset of perceived direction change relative to that of the color. This is particularly important as it implies, for the first time in the literature, that voluntary action is not only important in forming action-sensory outcome associations but may also act as a binding factor between the two perceptual features of a sensory event. (shrink)

According to the Stoics, ordinary unified bodies—animals, plants, and inanimate natural bodies—each have a single cause of unity and being: pneuma. Pneuma itself has no distinct cause of unity; on the contrary, it acts as a cause of unity and being for itself. In this paper, I show how pneuma is supposed to be able to unify itself and other bodies in virtue of its characteristic tensile motion (τονικὴ κίνησις). Thus, we will see how the Stoics could have hoped (...) to account for corporeal unity by positing another body (pneuma) apparently itself in need of unification. (shrink)

In the two feature articles for this volume, Gruber et al and Buonomano & Rovelli focus on what the former call the 'two-times problem', in short, the apparent lack of fit between time as described by physical science and our own temporal experience, where 'experience' involves things like memory, anticipation, and perception of change and motion. In this short note I'll make the case that the twotimes problem is less serious than it is often made out to be (...) in the specific case of features like 'passage ' and 'presentness' that are central to the 'A-theory' of time ---the theory that holds time to be composed of dynamic regions of 'past', 'present' and future', and for time to genuinely flow or pass.My contention is three-fold: (1) the two-times problem is better understood as a three-times problem: rather than a conflict between 'physical' and 'manifest' time, what we have in the case of time is differences between the time of physics, the time of experience, and the 'folk' concept of time. (2) Understanding the problem in this way helps deflate certain problems about the relationship of these three pictures; the time of experience and the time of physics are less obviously in a problematic conflict than often supposed; and the folk concept of time is what brings in problematic features of time hard to fit with either the time of physics of experience. (3) Understanding the time of experience as independent from the folk concept of time better fits the actual aims of the... (shrink)

The main foundations of the standard \CDM model of cosmology are that: the redshifts of the galaxies are due to the expansion of the Universe plus peculiar motions; the cosmic microwave background radiation and its anisotropies derive from the high energy primordial Universe when matter and radiation became decoupled; the abundance pattern of the light elements is explained in terms of primordial nucleosynthesis; and the formation and evolution of galaxies can be explained only in terms of gravitation within a inflation (...) + dark matter + dark energy scenario. Numerous tests have been carried out on these ideas and, although the standard model works pretty well in fitting many observations, there are also many data that present apparent caveats to be understood with it. In this paper, I offer a review of these tests and problems, as well as some examples of alternative models. (shrink)

The art of Simon Finn has always had a markedly temporal dynamic. Vast structures built and annihilated again and again across different media, their fragmentation across space and time simultaneously methodical and darkly chaotic. Roiling waters and eldritch surfaces held captive in their unrest. Finn’s works render cycles of construction and disintegration, of stasis and motion, in ways that shed light upon the underlying structures of our experience of time while shattering simplistic notions of linearity. This is nowhere more (...) apparent than in Instability, through which Finn allows us to explore the intertwining of personal and historical time, ancestral memory and radical futurity, artefactual form and temporal function. (shrink)

Introduction Conatus is a specific concept within Descartes’s physics. In particular, it assumes a crucial importance in the purely mechanistic description of the nature of light – an issue that Des- cartes considered one of the most crucial challenges, and major achievements, of his natural phil- osophy. According to Descartes’s cosmology, the universe – understood as a material continuum in which there is no vacuum – is composed of a number of separate yet interconnected vortices. Each of these vortices consists (...) in a set of bands rotating around their centres. The bands are com- posed of corpuscles of the three elements, each distinguished on the basis of their different shapes and sizes. The small globules of the second element, although impeded by the other parts of heaven, strive to move away from the centre of the vortex around which they revolve, thus exerting a certain force against the surrounding bodies. This striving or conatus, though a mere force rather than a genuine motion, is transmitted instan- taneously and along straight lines from body to body. According to Descartes, then, the nature of light consists in this striving alone. This account must be understood as strictly connected to the fundamental laws that regulate the Cartesian world. It is particularly important to recall that for Descartes the centrifugal force exerted by a rotating body is understood to be a consequence of the intrinsic rectilinearity of every motion. As the second of the three Laws of Nature set forth in Book II of the Principles of Philosophy establishes, “all motion is in itself rectilinear; and hence any body moving in a circle tends to move away from the centre of the circle which it describes as proved by the fact that a stone rotating in a sling tends to move centrifugally along the tangent of each point described by a circle.1 Similarly, each of the globules of the second element “strives to recede with a great force from the centre of the vortex in which it rotates; it is in fact prevented by the other globules placed all around, not differently than a stone in a sling”. Within this framework, as I show later, conatus occurs when a body’s intrinsic tendency to rectilinear motion is impeded by an external constraint. As Stephen Gaukroger notes, the use of the term conatus in the Principles – like “vis” and “ action ” – shows that Descartes “cannot avoid dynamic terminology”, despite his declared intent “to construe motion in a purely kinematic way”. Indeed, Gaukroger observes that the notions of force action and striving are systematically employed in the Principles – appearing 290, 59 and 8 times, respectively. Also noteworthy, conatus was – together with the more familiar concepts of actio and vis – a significant element of the conceptual apparatus of Scholastic natural philosophy. As will be seen later – and this is the first goal of this paper – here the concept of conatus had a very specific function. Indeed, it was a central part of the Aristotelian- Scholastic account of gravitation. Conatus was used to refer to the striving of a body to move towards its natural place – especially in cases where its natural motion was hindered or impeded by an external mover. This specific use of the concept of conatus can be found in texts on natural philosophy from the end of the sixteenth through the late seventeenth century. Notably, it occurs in some of the late -Scho- lastic texts which held special significance for Descartes’s thought. Therefore, Descartes introduces conatus in a context in which this concept already had a very specific meaning, and one of which he was very probably aware. The possible relations between these two apparently very different con- cepts have therefore to be scrutinized. I thereby propose to undertake a comparison between the Scho- lastic and the Cartesian conceptions of conatus. I hope to show that certain traits of the former are indeed echoed by the latter, although adapted to the much changed physical paradigm of Cartesian physics. In fact, Descartes’s conatus, though sharing some important similarities with the old one, underwent significant transformations in terms of both its meaning and its application. However, I hope to show that these concepts are both used to describe the behaviour of bodies in relation to their intrinsic motive tendency, and in particular when this tendency is impeded or prevented. Such a reconstruction offers two main areas of interest. On an immediate level, it furthers the general efforts of scholars over the past decades to reconstruct the full extent of the relations between Descartes’s thought and Scholastic philosophy. However, there is another significant reason for taking an interest in the ties between the Scholastic and the Cartesian conceptions of conatus. Indeed, the Cartesian conatus must be seen as crucial to a proper understanding of the broader, diverse conceptualization that this idea enjoyed in the thought of many of the most important philosophers of the early modern period, namely Spinoza, Hobbes and Leibniz. In particular, Spinoza, were directly influenced by Descartes in their unique formulations of conatus. Thus a reconstruction of the context in which Descartes formulated his conatus and of its relations to a pre-existing Scholastic conception will enable us to better reconstruct the history of this idea in the early modern period. The paper is structured as follows: in the first part, I provide a thorough review of the Scho- lastic employment of the concept conatus – both its meaning and the extent of its usage. I then show that it occurs in some of the most prominent Cartesian sources. Finally, I shall provide an account of Descartes’s theory of circular motion and conatus with the specific aim of empha- sizing the elements of both continuity and discontinuity that justify the claim that Descartes’s con- ception of conatus is reminiscent of the Scholastic one. (shrink)

By deriving the Lorentz transformation from the absolute speed of light, Einstein demonstrated the relativistic variability of space and time, enabling him to explain length contraction and time dilation without recourse to a "luminiferous ether" or preferred frame of reference. He also showed that clocks synchronized at a distance via light signals are not synchronized in a frame of reference differing from that of the clocks. However, by mislabeling the relativity of synchrony the "relativity of simultaneity," Einstein implied that this (...) effect concerns an actual difference in times from one frame to another rather than merely a failure of clock synchronization across frames. As a theory of length contraction and time dilation on the basis of relative motion in the context of the absolute speed of light, special relativity is the definitive interpretation of the Lorentz transformation and the correct explanation of relativistic phenomena. The relativity of simultaneity, as I demonstrate, plays no role in this explanation but instead provides apparent justification for a view of time in which the present moment is frame-dependent. In contrast to its legitimate application, special relativity fails as a theory of time on the basis of the relativity of simultaneity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory of (...) projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (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)

Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...) films’ (and frequently the audience’s) "muddled" morality. My narrative analysis reveals that Jigsaw’s values are not as confused as they may first appear to be. Despite explicitly proclaiming that his quest is to save others, his actions reveal another story (and not only because his schema is homicidal). Following the loss of his unborn son and his failed suicide attempt, Jigsaw seeks to symbolically eradicate himself: the victims he selects reflect and reify his own obsessive personality traits. In keeping with the franchises’ narrative twists – which are designed to reverse initially "obvious" meanings – I argue that Jigsaw’s proclamations have misdirected critics. His nihilism may be manifested as coerced suffering and articulated as distaste with the world, yet the series’ symbolic target is Jigsaw himself. (shrink)

The first edition of Newton's Principia contains only two additional comments on the methodology: the notification that the purpose of the paper is to explain "how to determine the true motions from their causes, effects, and apparent differences, and, conversely, how to determine from motions, whether true or apparent, their causes and effects"; and, in the Scholium at the end of Book 1, Section 11, Newton asserts that his distinctive approach makes possible a safer argumentation in natural philosophy. (...) DOI: 10.13140/RG.2.2.35946.88003 . (shrink)

The image of a copy of Praxiteles’ Aphrodite—nude but demurely shielding her pubic region—which adorns the dust cover of Pearson’s superb monograph, Aristotle on Desire</i>), suggests to the casual book buyer that the volume encased therein will explain Aristotle’s thoughts about sexual desire—perhaps as a central part or the paradigm case of his general theory of desire. But the goddess likes being tricky: Aristotle has very little to say about sexual desire (at best it is a subcategory of <i>epithumia</i>, set (...) alongside the desires for eating and drinking and reduced to tactile stimulation), and it is not immediately apparent that he possesses a general theory or account of desire. No doubt, Aristotle discusses many aspects of <i>orexis</i> (Aristotle’s general term for desire) in relationship to human action, in his consideration of the rhetorical manipulation of the emotions, and in his examination of animate motion. But as Pearson notes, neither in Aristotle’s catalog of writings nor in his surviving works is there an Aristotelian <i>peri orexeôs</i>. Pearson’s monograph, which is the “distant descendant” of a Ph.D. completed at Cambridge in 2004, thus is an exercise in detective work which combs through Aristotle’s discussions of desire throughout the corpus (albeit with focus on the ethical treatises, the <i>Rhetoric</i>, and <i>De Anima</i>) in order to reconstruct what a general theory of desire would look like for Aristotle. Pearson does a masterful job at drawing together into a coherent whole many of Aristotle’s scattered remarks about the different aspects of desire and provides a model for textual analysis of philosophically abstruse passages. Along the way, he overturns a number of scholarly orthodoxies (for instance, that Aristotle’s account of <i>thumos</i> retains elements of Platonic <i>thumos</i> or “spiritedness” or that <i>thumos</i> has a unique relationship to the <i>kalon</i> or what is fine) and situates Aristotle’s theory amidst contemporary philosophers of desire such as Thomas Nagle, Thomas Scanlon, and G.F. Schuler. The result is a landmark work of scholarship that scholars working on Aristotle’s moral psychology will need to engage and argue with. Whether the work warrants the adornment of Aphrodite is a question to which I will return in my conclusion. (shrink)

I argue that Plato believes that the soul must be both the principle of motion and the subject of cognition because it moves things specifically by means of its thoughts. I begin by arguing that the soul moves things by means of such acts as examination and deliberation, and that this view is developed in response to Anaxagoras. I then argue that every kind of soul enjoys a kind of cognition, with even plant souls having a form of Aristotelian (...) discrimination (krisis), and that there is therefore no completely unintelligent, evil soul in the cosmos that can explain disorderly motions; as a result, the soul is not the principle of all motion but only motion in the cosmos after it has been ordered by the Demiurge. (shrink)

The concept of Substantial motion (حركت جوهرى) is fundamentally flawed and severely muddled. Aristotle and Mulla Sadra’s conception of motion, substance (جوهر) and substantial form صورت نوعيه)) were all based on a severe misunderstanding of nature as later was established by the scientists and philosophers that came after them. Here, by recalling the established facts of modern science, particularly the universally accepted scientific fact that, properties of objects are reducible to the motion of their electrons and there’s (...) no such thing as ‘substantial form’ much less substance, the author puts an end to a 400-year-old glorious error called ‘substantial motion’. Naturally any attempt to reconcile the paradigms of modern physics with Aristotle/Sadra paradigms of form/matter and substance/accidents, and to try to draw parallel between the two and revive their philosophy would be an exercise in futility. (shrink)

In the Metaphysical Foundations of Natural Science, Kant presents an argument for the centrality of <motion> to our concept <matter>. This argument has long been considered either irredeemably obscure or otherwise defective. In this paper I provide an interpretation which defends the argument’s validity and clarifies the sense in which it aims to show that <motion> is fundamental to our conception of matter.

In the texts of the middle years (roughly, the 1680s and 90s), Leibniz appears to endorse two incompatible approaches to motion, one a realist approach, the other a phenomenalist approach. I argue that once we attend to certain nuances in his account we can see that in fact he has only one, coherent approach to motion during this period. I conclude by considering whether the view of motion I want to impute to Leibniz during his middle years (...) ranks as a kind of realism or rather as some kind of phenomenalism or idealism. (shrink)

The paper argues that Motion and Rest are “greatest kinds” and not just convenient examples, since they are all-pervading. Thus Motion and Rest can be jointly predicated of a single subject and can be predicated of each other, just as Sameness and Otherness can. While Sameness and Otherness are opposites, a single subject may be the same in one respect, namely, the same as itself, and other in another respect, namely, other than other things. Thus they can be (...) predicated of a single subject, and they can be predicated of each other, as well, since Sameness is other than other things and Otherness is the same as itself. The same explanation applies to Motion and Rest, as the paper demonstrates: a given subject may be in motion in one respect while being at rest in another respect. This distinction is made in the Sophist itself, right in the passage concerning the greatest kinds. Thus Motion and Rest should be considered greatest kinds on par with Being, Sameness, and Otherness, and each of these kinds pervades all other kinds. (shrink)

The impetus theory of motion states that to be in motion is to have a non-zero velocity. The at-at theory of motion states that to be in motion is to be at different places at different times, which in classical physics is naturally understood as the reduction of velocities to position developments. I first defend the at-at theory against the criticism raised by Arntzenius that it renders determinism impossible. I then develop a novel impetus theory of (...) motion that reduces positions to velocity developments. As this impetus theory of motion is by construction a mirror image of the at-at theory of motion, I claim that the two theories of motion are in fact epistemically on par—despite the unfamiliar metaphysical picture of the world furnished by the impetus version. (shrink)

This work takes into account three Cartesian manuals diffused in 17th century France ; Jacques Rohault, Traité de physique ; Pierre-Sylvain Régis, Cours entier de philosophie, ou système general selon les principes de M. Descartes contenant la logique, la metaphysique, la physique et la morale ) in order to question if the development of an empirical attitude in the scientific research influenced their approaches to the study of motion. The article intends to deepen the role that these authors give (...) to God in the physical structure of the universe with the purpose of investigating whether their analysis of motion is untainted by the metaphysical component or on what terms it remains linked to it. (shrink)

This essay proposes a new interpretation of a central, and yet overlooked, argument Leibniz offers against Descartes’s power-free ontology of the corporeal world. Appealing to considerations about the successiveness of motion, Leibniz attempts to show that the reality of motion requires force. It is often assumed that the argument is driven by concerns inspired by Zeno. Against such a reading, this essay contends that Leibniz’s argument is instead best understood against the background of an Aristotelian view of the (...) priority of real being over time. The essay also shows how this alternative interpretation can help to shed new light on the difference between Leibnizian forces and Aristotelian powers, as well as on Leibniz’s famous claim that accounting for force leads us beyond the mechanistic corporeal realm. (shrink)

This item is a chapter from a book in progress, entitled "True Motion". Leibniz’s mechanics was, as we shall see, a theory of elastic collisions, not formulated like Huygens’ in terms of rules explicitly covering every possible combination of relative masses and velocities, but in terms of three conservation principles, including (effectively) the conservation of momentum and kinetic energy. That is, he proposed what we now call (ironically enough) ‘Newtonian’ (or ‘classical’) elastic collision theory. While such a theory is, (...) for instance, vital to the foundations of the kinetic theory of gases, it is not applicable to systems – like gravitational systems – in which fields of force are present. Thus, Leibniz’s mechanical principles never led to developments of the order of Newton’s in the Principia (additionally, he hamstrung their application by embedding them in a baroque philosophical system). (shrink)

This article explores how Plato, in his “metaphysical” dialogues, sees the specific properties of motion (and especially of motion in music), which lend themselves to adaptation for the purposes of maintaining or restoring the health of the soul. Plato explores the property of regular or rhythmic motion in particular. The attention has been drawn to the analogy between the calming effect of music, at the human level, and the Demiurge’s achievement in willing the world into existence. The (...) focus of the article lays on the Laws, in which the principle of musical motion plays a central role in resolution of the contradictions between material and spiritual, natural and physiological, medical and educative. (shrink)

In Critique of Pure Reason Kant speaks about motion, as action of the subject in connection with the actions by which we describe a space, such as drawing a line or constructing a circle. In a 1992-paper in Kant-Studien I argued that this is one important piece of textual evidence for the so-called externalist interpretation, according to which the transcendental conditions of experience and indeed all the a priori elements in Kant’s system are public, depending upon overt action. Konstantin (...) Pollok has criticized my reading, arguing that the relevant use of the term “motion” here is just metaphorical, and considering some central Kantian doctrines that he thinks refutes the externalist interpretation. The present paper defends the externalist interpretation against Pollok’s charges. (shrink)

I examine the reasons Aristotle presents in Physics VIII 8 for denying a crucial assumption of Zeno’s dichotomy paradox: that every motion is composed of sub-motions. Aristotle claims that a unified motion is divisible into motions only in potentiality (δυνάμει). If it were actually divided at some point, the mobile would need to have arrived at and then have departed from this point, and that would require some interval of rest. Commentators have generally found Aristotle’s reasoning unconvincing. Against (...) David Bostock and Richard Sorabji, inter alia, I argue that Aristotle offers a plausible and internally consistent response to Zeno. I defend Aristotle’s reasoning by using his discussion of what to say about the mobile at boundary instants, transitions between change and rest. There Aristotle articulates what I call the Changes are Open, Rests are Closed Rule: what is true of something at a boundary instant is what is true of it over the time of its rest. By contrast, predications true of something over its period of change are not true of the thing at either of the boundary instants of that change. I argue that this rule issues from Aristotle’s general understanding of change, as laid out in Phys. III. It also fits well with Phys. VI, where Aristotle maintains that there is a first boundary instant included in the time of rest, but not a “first in which the mobile began to change.” I then show how this rule underlies Aristotle’s argument that a continuous motion cannot be composed of actual sub-motions. Aristotle distinguishes potential middles, points passed through en route to a terminus, from actual middles. The Changes are Open, Rests are Closed Rule only applies to actual middles, because only they are boundaries of change that the mobile must arrive at and then depart from. On my reading, Aristotle argues that the instant of arrival, the first instant at which the mobile has come to be at the actual middle, cannot belong to the time of the subsequent motion. If it did, the mobile would already be moving towards the next terminus and thus, per Phys. VI 6, would have already left. But it cannot have moved away from the midpoint at the very same moment it has arrived there. This means that the instant of arrival must be separated from the time of departure by an interval of rest. I show how Aristotle’s reasoning applies generally to rule out any continuous reflexive motion or continuous complex rectilinear motion. On my interpretation, however, the argument does not apply to every change of direction. When, as in the case of projectile motion, multiple movers and their relative powers explain why the mobile changes directions, distinct sub-motions are not involved. Aristotle holds that such motions cannot be continuous, not because they involve intervals of rest, but because they involve multiple causes of motion. My interpretation of the Changes are Open, Rests are Closed Rule allows us to make better sense of Aristotle’s argument than any previous interpretation. (shrink)

This article proves that the motion principle of philosophical physics (every thing moved is moved by another) is truly compatible with the inertia principle of mathematical physics (Newton's First Law).

Recent work in cognitive science suggests that conscious thought plays a much less central role in the production of human behavior than most think. Partially on the basis of this work, Peter Carruthers has advanced the claim that humans never consciously decide to act. This claim is of independent interest for action theory, and its potential truth poses a problem for theories of free will and autonomy, which often take our capacity to consciously decide to be of central importance. In (...) this article, I examine the nature of conscious deciding and I argue that Carruthers fails to establish the claim that humans never consciously decide to act. (shrink)

In his essay “Things Do Not Move,” Sengzhao (374?−414 CE), a prominent Chinese Buddhist philosopher, argues for the thesis that the myriad things do not move in time. This view is counter-intuitive and seems to run counter to the Mahayana Buddhist doctrine of emptiness. In this book chapter, I assess Sengzhao’s arguments for his thesis, elucidate his stance on the change/nonchange of things, and discuss related problems. I argue that although Sengzhao is keen on showing the plausibility of the thesis, (...) he actually views the myriad things as both changing and unchanging and upholds the nonduality of motion and rest. In fact, the nonmoving thesis follows from the discernment that things change from moment to moment without there being any enduring stuff in the process. Among philosophical works that confer a higher ontological status on nonchange over change, Sengzhao’s essay is unique and well worth pondering. (shrink)

This paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict (...) class='Hi'>motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis. (shrink)

This paper discusses a somewhat neglected reading of the second chapter of Nāgārjuna’s Mūlamadhyamakakārikā, arguing that the main focus of a crucial part is a particular theory of properties and their relation to individuals they instantiate, rather than the refutation of specific assumptions about the nature of space and time. Some of Nāgārjuna’s key arguments about motion should be understood as argument templates in which notions other than mover, motion, and so forth could be substituted. The remainder of (...) the discussion of motion does not serve quasi-Zenonian purposes either but uses motion as a principal example of change and considers the soteriological problems of the subject moving (gati) through transmigratory existence (saṃsāra). I attempt to show how this interpretation coheres with Nāgārjuna’s overall philosophical project. (shrink)

Modern philosophy of physics debates whether motion is absolute or relative. The debate began in the 1600s, so it deserves a close look here. Primarily, it was a controversy in metaphysics, but it had epistemic aspects too. I begin with the former, and then touch upon the latter at the end.

The perceived strength of darkness enhancement in the centre of surfaces surrounded or not surrounded by illusory contours was investigated as a function of proximity of the constituent elements of the display and their angular size. Magnitude estimation was used to measure the perception of the darkness phenomenon in white-on-grey stimuli. Darkness enhancement was perceived in both types of the stimuli used, but more strongly in the presence of illusory contours. In both cases, perceived darkness enhancement increased with increasing proximity (...) of the constituent parts of the display and with their angular size. These results suggest that the occurrence of darkness (or brightness) enhancement phenomena in the centre of the displays is not directly related to illusory contours, which only reinforce the subjective surface brightness/darkness. (shrink)

In this analysis of one of the most difficult and neglected topics in Hegelian studies, Songsuk Susan Hahn tackles the status of contradiction in Hegel's ...

A plausible reading of Berkeley’s view of voluntary motion is occasionalism; this, however, leads to a specious conclusion against his argument of human action. Differing from an unqualified occasionalist reading, I consider the alternative reading that Berkeley is a conservationist regarding bodily motion by the human mind at will. That is, finite minds (spirits) immediately cause motions in their body parts, albeit under the divine conservation. My argument then comports with the conservationist reading from three perspectives: (i) theodicy (...) that the human mind is held liable for sinful actions; (ii) an account of the human mind influencing other minds; and (iii) an improper but necessary directing principle of the human mind. This article is a stepping stone to grasping why the conservationist reading is more coherent than the occasionalist one. (shrink)

Nature, according to Cavendish, has “an Infinite Natural power, that is, a power to produce infinite effects in her own self, by infinite changes of Motions.” While Cavendish mentions powers with respect to human beings, medicines, occasional causes, and other entities, these powers are really just the power of self-moving matter to cause changes in the world. This chapter examines why Cavendish attributes the power of self-motion to matter, what this power is, how it arose, how it is enacted, (...) and its limitations. In doing so, it discusses her views on causation, perception, and motion, and argues that motion is not reducible to change in mereological facts. (shrink)

We study the acceleration and collisions of rigid bodies in special relativity. After a brief historical review, we give a physical definition of the term ‘rigid body’ in relativistic straight line motion. We show that the definition of ‘rigid body’ in relativity differs from the usual classical definition, so there is no difficulty in dealing with rigid bodies in relativistic motion. We then describe The motion of a rigid body undergoing constant acceleration to a given velocity.The acceleration (...) of a rigid body due to an applied impulse.Collisions between rigid bodies. (shrink)

This paper examines Descartes' problematic relational theory of motion, especially when viewed within the context of his dynamics, the Cartesian natural laws. The work of various commentators on Cartesian motion is also surveyed, with particular emphasis placed upon the recent important texts of Garber and Des Chene. In contrast to the methodology of most previous interpretations, however, this essay employs a modern "spacetime" approach to the problem. By this means, the role of dynamics in Descartes' theory, which has (...) often been neglected in favor of kinematic factors, is shown to be central to finding a solution to the puzzle of Cartesian motion. (shrink)

This chapter focuses on the appetite for self-preservation and its central role in Francis Bacon’s natural philosophy. In the first part, I introduce Bacon’s classification of universal appetites, showing the correspondences between natural and moral philosophy. I then examine the role that appetites play in his theory of motions and, additionally, the various meanings accorded to preservation in this context. I also discuss some of the sources underlying Bacon’s ideas, for his views about preservation reveal traces of Stoicism, Telesian natural (...) philosophy, the natural law tradition, as well as late-scholastic ideas. Bacon assumes the existence of two kinds of preservation: self-preservation and preservation of the whole. The appetite through which the whole preserves itself overpowers individual appetites for self-preservation. In Bacon’s theory of motions, the primacy of global preservation – that is, the preservation of the whole – is evidenced by the way matter resists being annihilated, while self-preservation at a local and particular level is revealed through other kinds of motion. Bacon’s notion of appetite reflects a specific metaphysics of matter and motion, in which the preservation of natural bodies follows teleological patterns shared by both nature and humanity: the preservation of the whole is the highest goal, both in moral and natural philosophy. In this chapter, I argue that in Bacon’s natural philosophy different kind of things, including nature and humans, are ruled by patterns that are constitutive of correlated orders, neither of which is reducible to the other: there is no priority of the natural order over the moral, or vice versa. Thus, at a more general level, both are expressions of the same type of divinely imposed, law-like behaviour. (shrink)

Reasons rationalize beliefs. Reasons, when all goes well, turn true beliefs into knowledge. I am interested in the relationship between these aspects of reasons. Without a proper understanding of their relationship, the theory of knowledge will be less illuminating than it ought to be. I hope to show that previous accounts have failed to account for this relationship. This has resulted in a tendency to focus on justification rather than knowledge. It has also resulted in many becoming skeptical about the (...) prospects for an analysis of knowledge. The skepticism is misplaced and the tendency can be fixed without sacrificing any insights. The solution is to see how good reasons (in a sense to be articulated) are apparent (in a sense to be articulated) to the knowing subject. Once this claim is unpacked, we see that it is an illuminating analysis of knowledge in terms of distinct but intimately related aspects of epistemic assessment. It helps us see the value of knowledge (over and above true belief) and it affords us a unified, “reasons-first” metaepistemology. The resulting picture is neither a familiar kind of internalism or externalism. (shrink)