There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy of art in Turkey (...) started with the effect of westernization after the Tanzimat. The main problems of the few studies that follow the development of aesthetics are that they examine aesthetics, which developed mainly through literary figures and philosophers who had less space than them, until the establishment of the Republic, only through the works of professional philosophers since the Republic, and they exclude the idea of tradition by not establishing a connection between the local thinkers they have examined and ending their development line with İsmail Tunalı. Common problems in research create the impression that the acceptance of aesthetics or philosophy of art as an activity that only the philosopher can do is accepted as a prejudice. However, philosophy of art is not a field specific to philosophers and limiting the development and accumulation of philosophy of art in Turkey to the work of philosophers narrows the scope of discussion. When a philosophical approach to the subject is sought other than philosophers, the opportunity to meet important names in different disciplines and to read them with a new eye increases. When approached from this perspective, Doğan Kuban’s (1926-2021) works deserve to be questioned in terms of art philosophy. It is noteworthy that Kuban’s production which started in the 1950s and lasted for about 70 years presents a wide field of data and interpretation and that he often attempts theory by reminding the absence of criticism and philosophy in our culture. There are also thinkers who refer to Kuban’s interest in philosophy, aesthetics and philosophy of art. However, Kuban’s relevance to philosophy and aesthetics/art philosophy has not been studied extensively. In the article firstly answers will be sought to the questions of what philosophy and philosophy of art are, and then Kuban’s philosophy of art will be revealed according to the criteria to be determined here. Kuban’s philosophy of art will be examined in three stages. His own theoretical approach will be analyzed by reviewing his objections to the tradition of philosophy of art. In the next step, his views on the philosophy of architecture and the philosophy of Turkish art, which he pursued throughout his production as a quest, will be examined. Finally the problems in Kuban’s philosophy of art will be pointed out and its possibilities will be emphasized. Philosophy is the ability to redefine the concepts starting from the most basic/original problems in any field where one doubts the answers, to determine the principles of the field, to answer the sub-questions with principles in line with consistency and validity, and to construct his own explanation model for the structure of the field by associating these answers. In order to make philosophy of art and philosophy of architecture it is necessary to answer the basic questions of the relevant field, to reach conceptual and principled goals, and to present a model of explanation of the structure of the field within a certain method. In the context of the criteria of art philosophy determined here, Kuban’s thoughts can be questioned in terms of philosophy of art. The philosophy of art, the philosophy of architecture and the philosophy of Turkish art, which became evident by the bringing together of different pieces in Kuban’s works, is a continuous and mutually determined effort. The thinker who criticizes the thinking styles and provisions of Western aesthetics, has created his own concept map with redefinitions and conceptualizations. Kuban redefined the concepts in the field of study, based on these he constructed his understanding of art, the philosophy of architecture and tried to create a model of explanation of Turkish art in which he revealed its history, evolution and basic features. Criticizing the views of C. E. Arseven, J. Strzygowski, E. Diez and O. Aslanapa, Kuban tried to define Turkish art in his own way and tried to explain the basic principles of Turkish art through monumental and civil architecture. Even though this model of explanation has deficiencies it offers new research opportunities to history of art and philosophy researchers with the questions it asks, the concepts it highlights and its unresolved aspects. With his philosophical awareness, criticisms of the philosophy of art, the philosophy of architecture and the attempt to construct the theory of Turkish art, Kuban should be included in the subject area of the philosophy of art studies in Turkey. Evaluation of Kuban’s thoughts by including them in the accumulation of art philosophy in our history of thought will both broaden and diversify the horizon of the field of art philosophy and will enable the philosophy of art to be considered in the context of new relationships between individuals and disciplines by following the traces of thinkers from such different fields. (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)

Assessing the success or failure of a work of architecture typically requires determining its function. However, architectural criticism often founders on apparently intractable disputes concerning the 'true' function of particular works. In this essay, I propose that the proper function of an architectural work is a matter of empirical fact, and can be determined by examining the history of the relevant architectural type. I develop this claim by appeal to the so-called 'etiological theory of function'.

Kolb discusses postmodern architectural styles and theories within the context of philosophical ideas about modernism and postmodernism. He focuses on what it means to dwell in a world and within a history and to act from or against a tradition.

The fourth of eight chapters from my recently published book "Grace and Gravity: Architectures of the Figure." The argumentation builds on terminology introduced in the first three chapters, the most important being the phased structure of the figure: prefiguration, figuration, and transfiguration. Also, the earlier developed interdependence of movement and standstill, which we find both in beauty and in grace, is here expanded in the relationship between the mineral, animal, and vegetable.

A discussion of "postmodern" architecture in the sense in which the term was used in the late 1980s, namely, the introduction of historical substantive content and reference into architecture, disrupting the supposedly ahistorical purity of modernist architecture. Argues that postmodern use of history is really another version of the modern distance from history.

In the history of technologies and materials the transfer from soft to hard plays a central role. From a dialectic point of view it seems to be a clear-cut matter of one overpowering the other, yet conceptually things are more convoluted. What we call the chiastic model of history is driven by the exchange of empowerings where the one inhabits the other. By taking the most antithetical examples of materiality from architectural history, the plastic and the lithic, (...) we begin to understand the psychological aspects of this exchange: a history of dreams, imagination and even hallucination. The technologies involving the plastic offer an enormous array of such imagery, which we start to analyze as part of a fundamental aspect of technology itself. Using the notion of the pharmakon, as developed by Derrida and Stiegler, we study its ambiguities: technology by its nature is both remedy and poison, cure and addiction. Accepting this ambivalence is the explicit goal of pharmacology, which makes the history of soft and hard one of prosthetic extension as much as of mimetic absorption. We will be guided by two architectural fantasists to investigate the what we call the pharmacology of architecture, J. G. Ballard’s fantasy of a house automaton in the case of the plastic, and G. B. Piranesi’s hallucinations of a reversed archeology in that of the lithic. (shrink)

This paper is about Brentano’s philosophical program in Vienna and the overall architecture, which binds together the main parts of his philosophy. I argue that this program is based on Brentano’s project of philosophy as science and it aims to account for the unity of the main branches of his philosophy. The paper is divided into six parts. The first bears on Brentano’s philosophy of history, which is an important piece of the program. The second is on the (...) close relationship between philosophy and science, and the third is on Brentano’s classification of theoretical sciences. In the three remaining parts of the paper, I examine the two main axes of the program, i.e. psychology and metaphysics, and the question how the three normative sciences are rooted in psychology. In the conclusion, I argue that Brentano’s theory of the four phases in the history of philosophy provides his philosophical program with a justification. (shrink)

As highlighted by the post-Cartesian discourse across philosophical schools, Western thought has been struggling for a long time with conceiving interconnectedness. The problematic of Western dualism is most apparent with the so-called mind-body problem, but the issue does not only relate to the separation of body and mind but also the separation of living beings from their environments. Asian philosophy, on the other hand, has had a long history of thinking relations. The paper argues that an architectural philosophy that (...) is open for a dialogue with Asian views would allow for a new approach to conceptualising the interconnectedness of minds, bodies, environments, and cultures. Linking Asian and Western aesthetics with a discourse on ecology, and setting it into dialogue with contemporary theories of architecture, the paper also refers to recent research on embodiment that is engaging from a new point of view with the natural sciences, and that appears to confirm positions of traditional Chinese philosophy. Reconsidering traditional Chinese art and aesthetics, the paper suggests, could initiate a new eco-poetic way of thinking the built environment and its design in favour of a future that is more than smart. (shrink)

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of (...) the automobile on our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. (shrink)

Praktykowanie teorii. Koncepty wczesnych prac Daniela Libeskinda jako wzorce realnej architektury Treści wczesnych prac Libeskinda, w tym zwłaszcza idee zawarte w cyklach rysunków pod nazwą Micromegas: The Architecture of End Space (1979) i Chamber Works: Architectural Meditations on the Themes from Heraclitus (1983) oraz trzy maszyny określone jako Three Lessons in Architecture (1985) w decydujący sposób wpłynęły na wszystkie późniejsze realizacje architekta. Prace te w dużym zakresie zmieniły zasady oddzielania teorii od praktyki budowlanej, w tym tak- że odgraniczania (...) architektury od literatury czy filozofii. Już Micromegas były polemiką z traktowaniem rysunku architektonicznego wyłącznie jako utylitarnego narzędzia w procesie stwarzania budowli i postawiły na uczynienie z tej techniki pełnoprawnej postaci realnej architektury. Chamber Works w jeszcze większym stopniu niż prace z serii Micromegas akcentowały samodzielność rysunku i jego odrębność od wszelkiej rzeczywistości czy zewnętrznych źródeł treści. Maszyny połączone w Three Lessons in Architecture streszczały dokonania dawnych epok historii sztuki budowania. Reading Machine opowiadała o rzemieślniczych początkach, Memory Machine o intelektualizmie okresu nowożytnego, Writing Machine zaś o współczesnym okresie mechanizacji pamięci i kreacji. Zadaniem maszyn była metafizyczna refleksja nad głównymi założeniami i mitami architektury, a zarazem przeniesienie tej refleksji na poziom doświadczenia zmysłowego. W berlińskim Jüdisches Museum wymyślone liternictwo architektoniczne połączyło się z narracją na temat zagłady żydowskich mieszkańców miasta. Libeskind wykreował nie tyle budowlę,ile literacką relację o zbrodni przełamującej historię ludzkość. (shrink)

The concept of the cortical column refers to vertical cell bands with similar response properties, which were initially observed by Vernon Mountcastle’s mapping of single cell recordings in the cat somatic cortex. It has subsequently guided over 50 years of neuroscientific research, in which fundamental questions about the modularity of the cortex and basic principles of sensory information processing were empirically investigated. Nevertheless, the status of the column remains controversial today, as skeptical commentators proclaim that the vertical cell bands are (...) a functionally insignificant by-product of ontogenetic development. This paper inquires how the column came to be viewed as an elementary unit of the cortex from Mountcastle’s discovery in 1955 until David Hubel and Torsten Wiesel’s reception of the Nobel Prize in 1981. I first argue that Mountcastle’s vertical electrode recordings served as criteria for applying the column concept to electrophysiological data. In contrast to previous authors, I claim that this move from electrophysiological data to the phenomenon of columnar responses was concept-laden, but not theory-laden. In the second part of the paper, I argue that Mountcastle’s criteria provided Hubel Wiesel with a conceptual outlook, i.e. it allowed them to anticipate columnar patterns in the cat and macaque visual cortex. I argue that in the late 1970s, this outlook only briefly took a form that one could call a ‘theory’ of the cerebral cortex, before new experimental techniques started to diversify column research. I end by showing how this account of early column research fits into a larger project that follows the conceptual development of the column into the present. (shrink)

Gjirokastra’s buildings occupy a special place in the housing typology of Albanian popular dwellings in the feudal period. The “popular tower" is linked with its defensive character, therefore in many cases, it takes the name of a castle or defensive tower. This paper takes into consideration a typical example of the historical fortified dwelling in a well-known city of Albania, Gjirokastra. The methodology used in order to improve the way of thinking, the way of implementing, and the way of designing (...) future dwellings is very related to the historical attitude of the dwelling. Based on the historical documentation, of the fortified dwelling a real analysis is performed according to the logic of modulations. The purpose of this paper is to create a methodology for future generations of architects in order to better engage in the design process, respecting the valuable architectural history. The modern dwellings of Gjirokastra historical-urban context must adopt the historical architectural elements, the historical manners of construction, the typical construction materials, the operational mode, and people’s lifestyle, in order to preserve the city's historical values via a modern touch. KEYWORDS: Architectural elements, historical preservation values, geometric ratios, modular. (shrink)

Nowadays there is a general acknowledgment of the importance of place in Italian crime novels. In Caponapoli, Massimo Siviero articulates a narrative way in which he approaches the structures, city, and the built environment to reflect the society, cultural relations, transformations and dysfunctions of contemporary Naples. Joe Pazienza, the private detective, has been seen by him recently before he was a reporter. When hired by his first client, Nada Mormile, someone with all the requirements of the dark lady in the (...) right place, he immediately smells “serious” trouble. There is a strange message full of threats at stake, and the construction sites of a substantial building, soon found “suicidal” with his head inside a bag. There is also someone who does not appreciate Joe’s new job as too nosy and goes out of his way to make him understand. Also, there is the Caponapoli. The health complex around which all the mysteries of a violent and fascinating city seem to gather. (shrink)

The concept of Tabula Rasa, as a desire for sweeping renewal and creating a potential site for the construction of utopian dreams, is presupposition of Modern Architecture. Starting from the middle of the 19th century to the first half of the 20th century, Iranian urban and architectural history has been integrated with modernization, and western-influenced modernity. The case of Tehran as the Middle Eastern political capital is the main scene for the manifestation of modernity within it’s urban projects (...) that was associated with several changes to the social, political and spatial structure of the city. In this regard, the strategy of Tabula Rasa as a utopian blank slate upon which a new Iran could be conceived “over again” – was the dominant strategy of modernization during First Pahlavi era (1925–1941). This article explores the very concept of constructing a new image of Tehran through the processes of autocratic modernism and orientalist historicism that also influenced the discourse of national identity during First Pahlavi era. (shrink)

This article studies the architectural design and cultural significance of Villa Namazee, a modernist building designed by Italian architect Gio Ponti in Tehran. The study explores how the building, once a symbol of modernity and progress, has been neglected, delisted from the national heritage, and fallen into disrepair. Focusing primarily on the case of Villa Namazee in Tehran, Iran, as an example of Ponti’s projects in the Middle Eastern context, the second part of this paper aims to reconsider and re-narrate (...) Gio Ponti’s project in Tehran. In this context, the article sheds light on the nationally and internationally prominent concepts, ideas, collaborations, and design elements of Gio Ponti’s project in Tehran. The paper argues for reevaluating our understanding of heritage and recognizing the importance of preserving modern architectural masterpieces such as Villa Namazee. (shrink)

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. -/- Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed in Minecraft; they (...) propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. -/- The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments. (shrink)

The experienced quality of urban environments has not traditionally been at the forefront of understanding how cities evolve through time. Within the humanistic tradition, the temporal dimension of cities has been dealt with through tracing urban or architectural histories or interpreting science-fiction scenarios, for example. However, attempts at understanding the relation between currently existing components of cities and planning based on them, towards the future, has not captured the experience of the temporal layers of cities to a satisfying degree. Contemporary (...) urban environments comprise both lasting and fairly stable elements as well as those that change continuously: change is an inevitable part of urban life. Different aspects of city life evolve with a different tempo: urban nature has its cycles, inhabitants their rhythms, and building materials and styles different lifespans, for example. Recognizing them becomes an especially important issue when future imaginaries are projected onto existing urban structures and when decisions about the details of urban futures are made. This paper aims at bringing environmental and urban aesthetics into the discussion about the possible directions of urban futures. The focus is on introducing the notion of aesthetic sustainability as a tool to better understand how urban futures unfold experientially and how aesthetic values of urban environments develop with time. This concept has some background in the field of design theory, more specifically in sustainable usage and product design, but it has not so far been used in order to study large scale living environments. The concept can prove to be a valuable supporting tool in urban sustainability transformations based on how it captures the experiential side of the physical and temporal dimensions of cities. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

A study of how for Hegel the relation of architecture to building function has varied throughout history. Architecture strives to liberate itself, never completely, from domination by function.

discussion of the extent to which architects can float about history and the inevitable finitude of architectural possibilities from any historical standpoint.

Water is the source of life for our planet, guided the ancient civilizations, and formed its current footprint on the earth. Water has always been a crucial element of our biological survival; consequently, humankind has permanently settled around it while carrying the responsibility of protecting it. To understand the water pattern in various cities throughout history and analyze how the emerging problems were overcome, Istanbul Technical University Landscape Architecture Department Graduate Level Design Studio was held under the theme (...) of "Around Water". Despite the adverse effects of the Covid-19 pandemic on education, international researchers contribute to the studio in a beneficial and diversified manner with the effective use of online tools. As a result of the literature review and the online, multidisciplinary education, and research-based design requirements, a new studio method was developed. Water-based case studies worldwide produced enriched outputs. While creating new discussion environments, the diversified outcomes of the studio "Around Water" contributed to the creation of cumulative studio knowledge. (shrink)

Three separate churches erected in Constantinople were all dedicated to the wisdom of Christ and erected on the same site one after the other. These churches were built between 360 and 537 AD by three different emperors: Constantius II, Theodosius the Younger, and Justinian I. The first two churches were consumed in flames after relatively short lives, but the final and greatest church still stands today, despite a history of extensive damage. This final edifice is the main focus of (...) this paper, owing to its 1500 year longevity and unprecedented architecture. If the entire History of Justinian's church is to considered, it is inaccurate to refer to it as a “church,” because although it remained a church for the first 900 years after its audacious construction, it was later converted into a mosque. Today it is a museum, in remembrance of its long history. (24). (shrink)

The aim of this paper is to have a better architectonic insight over the museum of Gjergj Kastriot Skanderbeg in the city of Kruja. The history for which Albanians are proud will be the focus of this paper from its genesis until now, always seeing its architectural perspective. The castle as the last resistance of Albanians at the time of Turkish occupation will be analyzed; together with the mode of implementation of the new Museum Gjergj Kastriot Skenderbeu at the (...) time of socialism. Who were the ideas of the ideologies of the time? What were the secrets of the building design? What were the secrets of the construction of the building? What were the motivations and inspirations of the architects and the design group? The paper will contain historical dating, direct interviews with architects of the building, and authentic architectural analysis of the building. Museum of Kruja is a work that belongs not only to Albanians but all of Europe and Balkan. Today it is one of the most visited works throughout the country. (shrink)

In this article, an account of the architecture of the cognitive contamination system is offered, according to which the contamination system can generate contamination represen- tations in circumstances that do not satisfy the norms of contamination, including in cases of mere visual contact with disgusting objects. It is argued that this architecture is important for explaining the content, logic, distribution, and persistence of maternal impression beliefs – according to which fetal defects are caused by the pregnant mother’s experiences (...) and actions – which in turn provide important evidence of the architecture of the cognitive contamination system. (shrink)

This paper outlines a brief ecological and industrial history of Sydney Harbour before evaluating the different design strategies for post-industrial landscape architecture. Four recent projects by Sydney based landscape architects are critiqued in relation to the traditions of the Sydney Landscape School. Each project seeks to celebrate the topographic drama of Sydney Harbor with distinctive and innovative design approaches. This new Sydney Landscape School adopts a more complex approach to landscape palimpsests then the Sydney School of the 1970s.

Considering the propositions of the virtual universe with its short history, there are digital twins and various economic investments. While the Metaverse points out a novel universe, it is able to promise much more than producing a copy of the self and imitation of conventional economic interactions. To reveal these potentials, it is necessary to determine the areas that must be meticulously focused on. Although Metaverse has permeated daily life dialogues, studies in the academic field are limited. Likewise, research (...) about its architecture and space needs to be developed in this area. No matter how far the new universe propositions go, they still stick with the quantitative values of the physical world. This issue obstructs the creation of its own reality. However, the universe's own digitalized digitalised structure does not require that the imagination of the spaces stuck with a quantitative basis. To avoid quantitative and reductive attitudes, focusing on the atmosphere of this universe may be a solution. The study aims to collide the possibilities of the Metaverse and the architectural atmosphere discussions to make an alternative reading of the Metaverse. Developing theories about the atmosphere of spaces and conducting atmospheric studies about Metaverse allow us to develop meta-experiences of the Metaverse. Focusing on the architectural atmosphere, immediate appreciation, ecstatic being and hallucinatory image will deepen the definition of Metaverse and provide a multi-layered experience. The image of the atmosphere and ecstatic being is associated with a ‘hallucinatory image'. The hallucinatory image has a structure that does not narrow down its references to the physical world. With this aspect, it may provide forms of alternative perceptions specific to the Metaverse. The hallucinatory image, parallel with the sensation of an ecstatic being, stimulates us to sense the atmosphere produced by the Metaverse. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

This book consists of an edited collection of original essays of the highest academic quality by seasoned experts in their fields of cognitive science. The essays are interdisciplinary, drawing from many of the fields known collectively as “the cognitive sciences.” Topics discussed represent a significant cross-section of the most current and interesting issues in cognitive science. Specific topics include matters regarding machine learning and cognitive architecture, the nature of cognitive content, the relationship of information to cognition, the role of (...) language and communication in cognition, the nature of embodied cognition, selective topics in visual cognition, brain connectivity, computation and simulation, social and technological issues within the cognitive sciences, and significant issues in the history of neuroscience. This book will be of interest to both professional researchers and newer students and graduate students in the fields of cognitive science—including computer science, linguistics, philosophy, psychology and neuroscience. The essays are in English and are designed to be as free as possible of technical jargon and therefore accessible to young scholars and to scholars who are new to the cognitive neurosciences. In addition to several entries by single authors, the book contains several interesting roundtables where researchers contribute answers to a central question presented to those in the focus group on one of the core areas listed above. This exciting approach provides a variety of perspectives from across disciplines on topics of current concern in the cognitive sciences. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

Ruins are evocative structures, and we value them in different ways for the various things they mean to us. Ruins can be aesthetically appreciated, but they are also valued for their historical importance, what they symbolize to different cultures and communities, and as lucrative objects, i.e., for tourism. However, today an increasing number of ancient ruins have been damaged or completely destroyed by acts of war. In 2001 the Taliban struck a major blow to cultural heritage by blasting the Bamiyan (...) Buddhas out of existence. They were not easy to destroy. This direct targeting of cultural property might change our attitudes toward conservation practices. Francesco Bandarin, the UNESCO assistant director-general for culture, states, “Deliberate destruction has created a new context. At the time, Bamiyan was an exceptional case.” Bandarin’s comments notwithstanding, the destruction of cultural property in times of war is not new. Not only is there relatively settled international law prohibiting the looting of cultural property during times of war, we can find examples of intentional destruction of cultural property from thousands of years ago. In this paper I would like to focus on one particular case, that of the Mỹ Sơn Archaeological Sanctuary, in the Socialist Republic of Việt Nam. Mỹ Sơn is the foremost Champa archaeological site and the largest archaeological site in Việt Nam. The largest temple (kalan) at Mỹ Sơn, A1, was destroyed in a US bombing raid in 1969. In this paper I highlight different approaches to architectural cultural heritage preservation in terms of reconstruction, restoration, and ruination -- with an eye to applying these approaches to the remains of the A1 temple in Mỹ Sơn. I briefly discuss the history of Mỹ Sơn before providing some reasons to believe that we should allow A1 to ruinate. (shrink)

A Practical Role for Philosophy, Abstract This paper argues that philosophy departments should endeavour to assist the multitude of other departments and faculties in a university or college that have or wish to present an ethics course .A majority of departments at the writer’s university present such a course. Each department has to develop its own ethics course. The assistance would comprise an identification of which of those many ethical theories that a philosophy department teaches that would have application across (...) the other faculties that comprise a university - engineering, medicine, business, history, architecture etc. Moral philosophy or ethics is a necessary part of education and training of students prior to entering the real world. Philosophy departments have this obligation to assist the other departments, but ignore it. They concentrate solely on educating philosophers to educate other philosophers. (shrink)

The protracted history of consuming carbon-based energy sources in Iran culminated in 1908 with the momentous discovery of the inaugural oil field in Masjed Soleyman. This newfound carbon-based source not only brought a lot of revenues to Iran but also, brought forth a multitude of materialities like pipelines, roads, bridges, refinery factories, tankers, and rigs into Iran. This new materiality exerted a profound influence on the perception and imagination of Iranians, particularly Iranian artists. Consequently, carbon permeated diverse manifestations within (...) Iranian artworks assuming various artistic approaches; in other words, carbon was inevitably introduced into aesthetics. Serendipitously, the ascension of Reza Shah Pahlavi to power in Iran almost coincided with the discovery of oil. Reza Shah and his successor, Mohammadreza Shah, sought to position themselves as a novel international force governing a "developed" nation for which they needed to lubricate the production-consumption cycle in Iran. To achieve this objective, they championed extensive governmental propagandas that celebrated carbon-based consumerism, and with that, they introduced aesthetics into carbon. Drawing inspiration from Walter Benjamin's notions “politicizing aesthetic” and “aestheticizing politics” and insisting that in Iran, oil/carbon is politics, this paper aims to historicize the process of carbonization of aesthetics in Iranian art realm on the one hand, and aestheticization of carbon in governmental propaganda on the other hand. This paper focuses on visual ideologies in visual artworks, including architecture, painting, and sculpture in the artwork realm and postal stamps, postcards, and paper moneys, on the other hand. (shrink)

The theses and program below ask about judgment and tradition in a self-consciously plural world. The little program points down a path I am exploring in a pair of texts, one on notions of identity in the history of philosophy, and one on the identity of buildings and places. The underlying issue of those texts is: what will replace the old notion of a particular identity? Places, persons, and communities do not and have never had such simple identities as (...) our concepts often made them out to have. But our world today defies the application of universal categories and judgments to fixed particulars. Our places and identities become complexly multiplied, they interpenetrate, the electronic no-place / all-place opens before us. Yet at the same time exclusions and particularities assert themselves everywhere. If universal judgment seems unlikely, relativism is one response, but relativism remains within the horizon of universals and particulars. What kinds of identity can provide standpoints for describing and judging today? (shrink)

The case for an unprecedented penetration of life mechanisms into the politics of Western modernity has been a cornerstone of 20th-century social theory. Working with and beyond Foucault, this article challenges established views about the history of biopower by focusing on ancient medical writings and practices of corporeal permeability. Through an analysis of three Roman institutions: a) bathing; b) urban architecture; and c) the military, it shows that technologies aimed at fostering and regulating life did exist in classical (...) antiquity at the population scale. The article highlights zones of indistinction between natural and political processes, zoē and bíos, that are not captured by a view of destructive incorporation of or over life by sovereign power. In conclusion, the article discusses the theoretical potential of this historical evidence for contemporary debates on ‘affirmative biopolitics’ and ‘environmental biopower’. (shrink)

Abstract: This research focuses on utilizing Artificial Neural Networks (ANNs) to predict Audit Risk accurately, a critical aspect of ensuring financial system integrity and preventing fraud. Our dataset, gathered from Kaggle, comprises 18 diverse features, including financial and historical parameters, offering a comprehensive view of audit-related factors. These features encompass 'Sector_score,' 'PARA_A,' 'SCORE_A,' 'PARA_B,' 'SCORE_B,' 'TOTAL,' 'numbers,' 'marks,' 'Money_Value,' 'District,' 'Loss,' 'Loss_SCORE,' 'History,' 'History_score,' 'score,' and 'Risk,' with a total of 774 samples. Our proposed neural network architecture, consisting (...) of three layers (1 input, 1 hidden, and 1 output), forms the core of this study. While it may seem simple, the power of ANNs lies not in complexity but in their ability to uncover intricate data patterns. The model underwent rigorous training and validation, resulting in remarkable outcomes—an accuracy of 100% and an average error rate of 0.000015. In addition to performance metrics, our research investigates feature importance, revealing the key contributors to Audit Risk prediction. Notably, 'Sector_score,' 'PARA_A,' 'SCORE_A,' 'PARA_B,' 'SCORE_B,' 'TOTAL,' 'numbers,' 'marks,' 'Money_Value,' 'District,' 'Loss,' 'Loss_SCORE,' 'History,' and 'History_score' emerged as the most influential factors, shedding light on the elements crucial for precise risk assessment. This study advances Audit Risk prediction models and highlights the potential of ANNs in strengthening financial system integrity and fraud prevention. The insights gained from our findings offer practical guidance for stakeholders in the audit and financial sectors. (shrink)

Abstract: This research paper presents a novel approach to predict audit risks using a neural network model. The dataset used for this study was obtained from Kaggle and comprises 774 samples with 18 features, including Sector_score, PARA_A, SCORE_A, PARA_B, SCORE_B, TOTAL, numbers, marks, Money_Value, District, Loss, Loss_SCORE, History, History_score, score, and Risk. The proposed neural network architecture consists of three layers, including one input layer, one hidden layer, and one output layer. The neural network model was trained and (...) validated, achieving an impressive accuracy of 100% and an average error of 0.000015, indicating its robust predictive capability. Moreover, we conducted feature importance analysis to identify the most influential features for predicting audit risk. The key features found to be critical for classifying fraudulent activities in audit risk prediction are Sector_score, PARA_A, SCORE_A, PARA_B, SCORE_B, TOTAL, numbers, marks, Money_Value, District, Loss, Loss_SCORE, History, and History_score. This research contributes to the field of audit risk prediction by demonstrating the effectiveness of a neural network-based approach and highlighting the importance of specific features in detecting fraudulent activities. The findings have significant implications for auditors and organizations seeking to enhance their audit risk assessment processes, ultimately leading to improved financial transparency and fraud detection. (shrink)

Gaston Bachelard is one of the indespensable figures in the history of 20th-century ideas. The broad scope of his work has had a lasting impact in several fields - notable philosophy, architecture and literature.

This insight to art came from chess composition concentrating art in a very dense form. To identify and mathematically assess the uniqueness is the key applicable to other areas eg. computer programming. Maximization of uniqueness is minimization of entropy that coincides as well as goes beyond Information Theory (Shannon, 1948). The reusage of logic as a universal principle to minimize entropy, requires simplified architecture and abstraction. Any structures (e.g. plugins) duplicating or dividing functionality increase entropy and so unreliability (eg. (...) British Airways IT system). The ideas here were verified by my chess compositions, art works and complex information system as an author of each co uk, and were presented at conferences in Santorini, Adelaide, Geneva, Daejon and virtually. (shrink)

In the first century, Greek essayist, (later with Roman citizenship) Plutarch observed in De Auditu that “The mind is not a vessel to be filled, but a fire to be kindled.” During the decade it took to compile and write critical commentary for this book, I always had this idea in my mind—that it was not intended to provide any answers but rather give the architecture and design community the material, from the history of aesthetic discourse, to ask (...) different, and better, questions about the built environment and how it is designed. (shrink)

Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is 'embodied' and depends on the aforementioned concepts' interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes (...) it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than 'smart' efficiency. (shrink)

*North American Society for Social Philosophy (NASSP) Book Award 2019.* -/- *International Studies Association (ISA) - International Ethics Section Book Award 2021.* -/- Although military mores have relied primarily on just war theory, the ethic of cooperation in warfare (ECW)—between enemies even as they are trying to kill each other—is as central to the practice of warfare and to conceptualization of its morality. Neither game theory nor unilateral moral duties (God-given or otherwise) can explain the explicit language of cooperation in (...) developing and enforcing principles of military ethics and the law of armed conflict. -/- The ethic of cooperation is borne of various motivations: reciprocity, self-preservation, and efficiency, to be sure, but also a sense of warrior honor and concern with human rights. This shared morality can persist despite making it more difficult for one side or the other to win and, unfortunately, its well-meaning motivations often lead to unintended tragic consequences. -/- This book explores three manifestations of this significant yet overlooked ethic of cooperation in warfare: (1) for a “fair fight,” (2) to protect classes of individuals (e.g., non-combatants or prisoners of war), and (3) to end the war quickly. Such cooperation can take unexpected forms, from ad hoc decisions on the battlefield to institutionalization in international law, and is the source of some critical tensions in one of the most significant developments in warfare in recent years: namely, how to handle terrorism or other forms of warfare that lie outside the purview of international law. -/- Each type of ECW raises questions internal to that ethic, such as inconsistencies in the concept of “parity” across different weapons bans, contradictions within the warrior ethic that heavily influence—and therefore confuse—notions of the “fair fight,” the disconnect between what protections a person receives and his responsibility for the war (e.g., political leaders), or the limited decisiveness of outcomes generated by very short wars. -/- Their simultaneous application also generates significant tensions and raises questions about the proper relationship of ECW to the immediate goal of war itself, which is to win, and thus yield either a political settlement or a justicial decision. For example, the ECWs for a “fair fight” and to protect classes of individuals can make it harder to win the war, but even more concerning is that they can also kill more people, which in the latter case contravenes its very purpose. -/- Human history is in some ways the story of trying to concurrently wage and tame war, and the architecture of warfare itself is informed by the ECW, in particular: (a) the political nature of war, (b) the abdication from jus ad bellum judgments in order to concentrate on justice within war (jus in bello), and (c) the ways in which modern nation-states collude to define “legitimacy” in war. -/- The combination of these three features leave questions of justicial right and responsibility for war disturbingly unresolved, it also generates new challenges in a geopolitical context in which cooperative and non-cooperative (e.g. contemporary terrorism) forms of warfare clash. (shrink)

Given the irrationality and failures of human behaviour in the face of ecocide, the majority of humankind appears either unable or unwilling to change self-destructive ways of life. Rejecting common accounts, the author suggests that the reasons for our stubborn resistance to change go well beyond cognitive dissonance or any standard political and economic explanations. Nor is the answer to be found in human history alone. The driving forces underlying that resistance, the author argues, originate far back in evolutionary (...) time to the impulses governing all sentient creatures. -/- NB: The copy of this article is the final, pre-production version of the article published in the Architectural Research Quarterly. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 215-232 [Access article in PDF] Eighteenth-Century Print Culture and the "Truth" of Fictional Narrative Lisa Zunshine As a session entitled "Truth" at a recent Modern Language Association of America annual convention has demonstrated, the obsession with the epistemologies of truth is alive and well. Our "familiar ways of thinking and talking about truth," as one of the speakers, Barbara Herrnstein Smith, observed, remain "theoretically (...) elusive, discursively slippery, and hard or perhaps impossible to articulate clearly in relation to other current concepts and ideas" 1 --an irresistible invitation to further thinking and talking on the subject. My essay enters this conversation by attempting to contemplate truth not as a stable attribute but as a ongoing attribution, that is, not as an inherent property but rather as a dynamic process predicated upon functional idiosyncrasies of our evolved cognitive architecture. The broad question posed here is this: What if our never-ending quest for truth is itself cognitively constructed and the various forms that this quest takes manifest the (not necessarily harmonious) interaction between our evolved cognitive capacities and the ever-changing specifics of our cultural environment?Consider just one of the forms of such an interaction, namely, our age-long preoccupation with the "truth" of literary narrative. In many respects, this preoccupation is counterproductive: the most "fantastic" story contains a number of contingently useful "truths" about the world, whereas the most "factual" narrative manipulates facts by virtue of being a narrative or a subjective arrangementof information. Still, we persevere in wanting to put the label "fiction" or "nonfiction" onto any story that comes our way. As I will argue, the bookstore's organization of its sections satisfies this species of "cognitive" craving as well as [End Page 215] reinforces it, making it seem culturally inevitable. Viewed from this perspective, our culture appears to be a multifaceted feedback mechanism engaged in the process of satisfying, reinforcing, struggling with, and manipulating our cognitive predispositions.The cultural manipulation of our cognitive predispositions is the topic of the present essay, which discusses several examples of such manipulation that respond to our desire to assign a certain "truth-value" to a given narrative, i.e., to attach a label to it announcing its "factuality" or "fictionality." "Truth-value" is a loaded term, resisting definition, and liable to lead me into trouble. Imperfect as it is, however, I need it in order to shuffle between two scholarly discourses that do not (yet) have much vocabulary in common: literary criticism and cognitive science. The reason for turning to cognitive science in my discussion of literary narrative is that cognitive anthropologists and psychologists frequently engage the same problems that we do when we ask, What is "Fiction"? How is it different from "History"? How do we decide whether what we are reading is "true?" The key difference between the two approaches is, however, that whereas the literary critic focuses on specific texts produced and read in specific cultural circumstances, the cognitive anthropologist pays attention to the cross-cultural insistence with which people wish to and often claim to distinguish "truth" from "fiction" and inquires into the possible evolutionary history of the cognitive architecture implicated in our never-ending quest for "truth." The latter perspective can thus be useful for literary studies because, by suggesting that our evolved cognitive architecture often "encourages" us to construe the world as a negotiation of "truths" and "nontruths," this perspective begins to account--at least on some level--for the fact that people may approach a complex cultural artifact, such as a novel, with a "truth"/"non-truth" binary in mind that is ultimately not very productive. 2 Evolutionary psychologists and anthropologists frequently point to disjunctions between the tasks that our brain evolved to solve and the tasks that we have to deal with in the modern environment; our vexed insistence on determining the truth-value of the 500-page printed narrative--not an object one would come across in the Pleistocene--can be seen as yet another instance of such a disjunction.Thus, I suggest that, on the... (shrink)

This interview of Dr. Devinder Pal Singh, Director, Center for Understanding Sikhism, Mississauga, Canada was conducted by S. Ekam Singh, M. Arch Candidate, Pratt Institute, Brooklyn, New York, USA, in Jan. 2022. The interview elaborates on the Role and Relevance of Gurudwaras in the Global Context.

How can humanist principles of respect, dignity, and care inform and improve design for non-human lifeforms? This paper uses ageing and dying urban trees to understand how architectural, urban, and landscape design respond to nonhuman concerns. It draws on research in plant sciences, environmental history, ethics, environmental management, and urban design to ask: how can more-than-human ethics improve multispecies cohabitation in urban forests? The paper hypothesises that concepts of dignity and respect can underline the capabilities of nonhuman lifeforms and (...) lead to improved designs for multispecies cohabitation. To investigate the implications of this ethical framework, we 1) indicate injustices of current management in relation to natural and cultural histories of trees; 2) outline a conceptual framework that includes large old trees as stakeholders in urban communities; and 3) use this framework in a thought experiment with urban trees in Melbourne, outlining comparative design outcomes. Our findings show that the expansion of dignity to include nonhuman life is possible and plausible. Such an extension can justify and encourage design innovation for multiple species and sites. The resulting design practices will lead to improvements by supporting communities of trees at all stages of their life-cycles, including old age, death, and rebirth. This approach requires substantial shifts in accepted thinking and practices including history, ethics, aesthetics, regulation, and education. Design can play a significant role in the necessary transitions by demonstrating tangible and positive outcomes. In this context, history emerges as an essential tool that can extend societal imagination by situating possible future places in the context of ancient and ongoing geological, evolutionary, ecological, and cultural processes. (shrink)

Abstract A Note to Cogito Les Jones Blackburn College Previous submissions include -Intention, interpretation and literary theory, a first lookWittgenstein and St Augustine A DiscussionAreas of Interest – History of Western Philosophy, Miscellaneous Philosophy, European A Note on Cogito Descartes' brilliance in driving out doubt, and proving the existence of himself as a thinking entity, is well documented. Sartre's critique (or maybe extension) is both apposite and grounded and takes these enquiries on to another level. Let's take a look. (...) 'I think' somehow, for all its power, lacks something. What? Consider what one does when thinking (difficult, but we can try). Implicit in the word 'think', in fact the very essence of the word 'think', is that activity is going on, and if such activity is going on then it must be going on about something, an object, an emotion, a problem,or maybe some dreamlike state, but common to all these is that something is going on. Is that really so? Well, if that wasn't so we would be able to think in a pure state, wouldn't we? But what does a pure state of 'thinking' mean? It can't mean that there isnothing there, because if there were nothing there then no thinking would be taking place. Can it mean that we are thinking of nothing? Well no, because if we are thinking of nothing then we are thinking of something, we are contemplating the notion, or the nature, of nothing. In fact, one can argue that if we talk of something, inthis case nothing or nothingness, then in our head we have some notion of what that is, i.e. something exists in the mind for it to come out of our mouths. Thinking is a recognition of something outside the individual, for the very act of direction, which isan indispensable part of thinking, recognises, must recognise, that there are things to address outside the individual. Something else to bear in mind. According to Sartre human beings are condemned to freedom. Why condemned? Human beings did not choose to be born, but the act ofbeing born also imparts the freedom of which Sartre speaks. Freedom is something which we parrot off as being a sine qua non for the human condition. I believe that's true, but freedom in this sense isn't without its consequences for the individual humanbeing, for individual human beings handle freedom differently. To some it enables them to fly, to others it imparts immense pressures, anguish, heartbreak, unhappiness can all be associated with such freedom. Each individual is responsible for his destiny, for his direction. If someone says that God impelled him, that individual chose his or her God, and chose to obey his or her God. This believer has to sift through the multitude of things that his or her God desire of him or her. All this is fine, so long as we acknowledge what is going on here. Belief in God is, by definition, a belief. Belief, following Wittgenstein, is a language game with its rules and its boundaries. The essential feature of religion as language game are its boundaries, which can be summed up in the word belief. OK, belief has its practises which are its constituent parts, but belief is the boundary between religion and other language games, as the proof constituents are different. Our world is determined by the language used to describe everything that goes on within it. The boundaries of our world are set by the language we use. This might be better put as language gives access to ever expending boundaries. Ever expanding boundaries are only possible by ever expanding thought, and ever expanding thought is only possible by ever expanding directions to our thought brought about through language. It is a fact taken that to be conscious is to think. How could this be otherwise? Consciousness without thought just does not make sense. Imagine a state of consciousness without directional thought. What would it be like? It would be something never experienced, completely out of our understanding. Why? Because understanding itself is a directional thought process. If we say we are going outside our understanding then that is a world of void, and a world of void does not exist. Can such a world be contemplated in our thinking? Well, yes, but then it requires thinking, and thinking requires direction, and such direction requires language. Why does direction require language? Because there is no other way for human beings to articulate a directional thought. Could one point at an image without language? Well, one could have an image in mind, but the essence of saying something about it, of descriptive power, brings us back to the essence, to the power of language to direct. So what of this language of which we speak? Wittgenstein's private language argument points us towards the notion that language itself constantly develops and redevelops through human interaction. Descarte's cogito implies that thinking rules out doubt of one's own existence. But such thinking, to be valid, to make sense, to direct, must develop in a language that has developed, has been verified, by a plurality, by a plurality whose essence is social. Correct use of language symbols, i.e. words, requires that we verify and reverify the accuracy of such symbols. How do we do that? We do that in constant usage, in constant interaction, with other human beings. An individual using a private language could not be understood by others, his symbol system has not been verified by others, his meanings may not be your meanings. It follows from what we have said above that language is constructed, and is continually constructed, in a social context. Given our previous thoughts regarding verification this could not be otherwise. Language has a normative form. All language users are required, by their very use of the language, to verify the use of terms, grammar etc etc. As Wittgenstein cites (appropriately) games as a model, let us take a look. If I play e.g. Ludo, I am governed by the rules. It is not just that I may play dishonestly, for if I were to play at all that very dishonesty, to count as Ludo, would have to be rule governed. The rules of Ludo are Ludo, they are the essence and the constitution of it. Wittgenstein, particularly in his later writings, interweaves many concepts, and connects them in different and sometimes rather elusive ways. Wittgenstein sees concepts like emotions, sentiments and experiences in these interweaving maps. Of course these can be regarded as psychological concepts ** Language can be considered in another but related way, as embodying the elements of a cultural heritage. Language was seen as embodying the notion of higher culture in the arts, architecture etc. Over recent decades this has tended to shift to consider less tangible benefits, such things as oral traditions, cultural values and cultural identity. So language enables us to explore, through the achievements of past generations, cultural mores that may have laid unchallenged for many years. Many of these values and mores may be seen as independent of the language by which they are transmitted, but still this monumental accomplishment of mankind i.e. language, enables man to explore, to modify, to codify, to extend the boundaries of human experience. There are therefore massive implications for our Note on Cogito of Wittgenstein's work. Following Wittgenstein emotions and other psychological concepts can be termed depth grammar, and are distinguished by the fact that the third person of the present is recognised by observation, the first person is not. Taking Wittgenstein's well known pain example the sentence 'He is in pain' is a third person statement of an observational nature. The sentence 'I am in pain' is not derived from observation but from experience, it is an expression of that experience, it's essence is the experience. The asymmetry consists in the fact that predicting psychological attributes of others is warranted by what they do and say. By contrast, the use of such statements in the first person present tense does not rest on one's observation of one's own behaviour. (Hacker 2010:287) p 9 According to Wittgenstein 'I am in pain' is more like a cry of pain, an expression of pain, than a report of some pain. Of course this appertains for other similar statements. 'I feel good' etc. (shrink)

Around 750 a.d., new settlements in Chaco Canyon in the Southwest United States began moving toward intensified urban form, monumental architecture, and increased hierarchical social organization that bordered on nation-state authority. But around 1140 a.d., the relatively concentrated populations in Chaco Canyon dispersed over just a few generations. At new destinations emigrants from the canyon did not reinstate the urban intensities and political hierarchies that had dominated there. Four lessons from this history can be drawn. First, the model (...) of social and political coordination that best fits the history of Chaco Canyon is one of escalating and deescalating gift-giving. Models that instead appeal to purely transactional relations, such as contracts, are historically and philosophically inadequate. Second, and more broadly, the real power of any well-functioning, complex, and urbanized society must be a reserve of generalized social trust. This was true then, and remains true today. Third, while environmental pressures play important roles in the formation of foundational urban settlements such as those in Chaco Canyon, we should be careful not to explain too much by them. As then, our own environmental challenges call upon us to nurture political arrangements, especially in our cities, that can address environmental constraints and challenges. Except perhaps when circumstances become impossibly dire, we should treat environmental constraints as the boundaries into which we must fit ourselves through political means. Finally, philosophers should investigate developments in historical urban settlements. Such cases are indispensable for understanding human cooperation, forms of social authority, and environmental decision making. (shrink)

his article will focus on the mechanistic origins of the computer metaphor, which forms the conceptual framework for the methodology of the cognitive sciences, some areas of artificial intelligence and the philosophy of mind. The connection between the history of computing technology, epistemology and the philosophy of mind is expressed through the metaphorical dictionaries of the philosophical discourse of a particular era. The conceptual clarification of this connection and the substantiation of the mechanistic components of the computer metaphor is (...) the main goal of this article. The statement is substantiated that the invention of mechanical computing devices, having a long history in the European engineering tradition, formed the prerequisites for the emergence of machine functionalism in the modern philosophy of mind. The idea of multiple implementation stems from the principle that a formal symbol system prescribes rules for the use of rational abstractions through the physical architecture of a computational engine. The article considers the reasons for the conceptual shift and reveals the semantic foundations for the metaphorical transfer of the properties of abstract objects from the theory of automata to the field of modern philosophy of mind. The criticism and ways of protecting the philosophical program of machine functionalism are analyzed by changing the content of the metaphor “Mind as machine”. The reasons for the stability of the information-computer approach in cognitive sciences are also disclosed and explained. (shrink)