We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of (...) something intrinsically negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

Violence turns hope and expectation into guilt and shame. This publication discusses the outcome of a philosophical and artistic investigation into complex patterns of behaviour. Negative connotations and positive aspects of guilt and shame are connected convincingly to the artistic process which is used by the artist to produce new work. As a consequence, a different light is shed on the concepts of guilt and shame. The author shows in an intriguing way how adapting an artistic (...) class='Hi'>attitude can help us think in a more peaceful and independent manner. Over Schuld en Schaamte (On Guilt and Shame) thus offers a new surprising insight how violence can be transformed into hope and more rewarding practices. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 (...) the use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

Advocates of interactionism in the ethical criticism of art argue that ethical value impacts aesthetic value. The debate is concerned with “the intrinsic question”: the question of whether ethical flaws/merits in artworks’ manifested attitudes affect their aesthetic value (Gaut 2007: 9). This paper argues that the assumption that artworks have intrinsic ethical value is problematic at least in regards to a significant subset of works: fictional artworks. I argue that, insofar as their ethical value emerges only from attitudes attributable to (...) actual agents, fictional artworks only have extrinsic ethical value. I show that what is at stake for interactionism is whether ethical judgements concerning artists’ attitudes in a context, rather than manifested attitudes, are ever aesthetically relevant. I conclude that, without buying into extreme actual intentionalism, a still controversial theory of interpretation that ties artworks’ meaning to actual artists, interactionism fails to show that ethical flaws/merits are aesthetic flaws/merits. (shrink)

Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage to (...) our appropriate reactive attitudes, and until we locate a relevant difference between these depictions in gorefests and in other genres, we should assume that the depictions in gorefests do no damage. I consider and reject three candidate differences: in artistic merit, meaningfulness, and audience orientation. Until genre skeptics identify a relevant difference, we should accept the taste for gory fictions as we would any other morally innocuous variation in taste. (shrink)

If we are to escape reification—a sort of cogni- tive neutrality of basic, gnosic apprehension of the world plus a fundamental disrespect of the other as free agent—we should recognize our mode of existence as always already one of existential engagement with and within experience, aiming at articulating and expressing this engagement. One way of fully inhabiting this, let’s call it the proper human stance, is through recognizing a pendular space between the basic attitudes of acknowledging lived, shared interests and (...) values and avoiding being bound to and dependent on the values of others. Both philosophy as radical critical re- flection, and art, or artistic processes of production and re- ception, can be seen as invitations to inhabit this pendular space of human experience, by way of continually opening up our habits of sensibility to new engagements in thought and life, and successfully articulating and expressing these engagements in public forms. I take Cavell’s reading of Wittgenstein’s mature philosophy as an attuning to an apt attitude towards this invitation. Is this attitude one possible, non-procedural meaning of “liberalism”? (shrink)

To become a public figure or celebrity, I claim, is to exist alongside a zombie version of yourself. This zombie shares the same name and physical likeness but operates independently of its flesh-and-blood counterpart. In fact, public figures do not have any special authority over the zombie version of themselves, and in some contexts, they enjoy less authority over their zombie counterparts than others do. In the US, for example, public figures are not legally entitled to protections against criticism via (...) parody, which can include unauthorized use of their likeness for offensive images, insulting jokes, and other forms of public mockery. As Michel Foucault observed, a work is entitled to become the “murderer” of its author, which suggests that the author’s name exists among the living dead. An artist’s works can bear their name yet operate independently of their attitudes or mental states. In June of 2019, the master rights to Taylor Swift’s first six albums were sold without her knowledge or consent, effectively “murdering” her rights as their author. Swift’s 2019 decision to re-record her first six studio albums can thus be understood as an act of institutional revenge, a way to get back at the people who have wielded power over her and the institutions that enable exploitation—a battle with her zombified works: the “stolen” original albums. In this chapter I sketch an institutional theory of celebrity names to explain the institutional, personal, and political significance of self-appropriation, using Taylor Swift’s act of re-recording her own music as a paradigm case. (shrink)

An important artistic topic of Italian Renaissance painting was the rendering of the human figure. As leading actors in a painted narrative, figures had to convince beholders of the reality of the matter depicted with appropriated attitudes and gestures. This article is about two ways of drawing or rather constructing the human figure artists developed to achieve this goal. The first was only an adaptation to an old method: because of the rather simple and coarse elements used, constructions often (...) resulted in faulty pictures and were for that matter often criticized. As this article will show, the second method involved a new and very successful drawing skill, which not just required a different kind of knowledge of visual forms but of procedures of moving the hand, too. (shrink)

Traces of many past events are often layered or superposed, in brain, body, and world alike. This often poses challenges for individuals and groups, both in accessing specific past events and in regulating or managing coexisting emotions or attitudes. We sometimes struggle, for example, to find appropriate modes of engagement with places with complex and difficult pasts. More generally, there can appear to be a tension between what we know about the highly constructive nature of remembering, whether it is drawing (...) on neural or worldly resources or both, and the ways that we need and use memory to make claims on the past, and to maintain some appropriate causal connections to past events. I assess the current state of work on situated affect and distributed memory, and the recent criticisms of the ‘dogma of harmony’ in these fields. I then deploy these frameworks to examine some affective dimensions of place memory, sketching a strongly distributed conception of places as sometimes partly constituting the processes and activities of feeling and remembering. These approaches also offer useful perspectives on the problems of how to engage – politically and aesthetically – with difficult pasts and historically burdened heritage. In assessing artistic interventions in troubled places, we can seek responsibly to do justice to the past while fully embracing the dynamic and contested constructedness of our present emotions, memories, and activities. (shrink)

"Plato and Nietzsche contra Phaedo-Platonism" would be an appropriate subtitle for this chapter, in which I develop a reading of Plato's Phaedo as a work of philosophical art, and Plato as a philosopher-artist (in a Nietzschean mode). The chapter includes an argument that, contrary to the standard reading, the Phaedo does not teach the doctrine of escape from the cycle of rebirth (pp. 151-160). As significant as this conclusion is in and for itself, it implies as well that Nietzsche cannot (...) appeal to this doctrine to condemn Socrates' attitude to life--though he does have other similar grounds on which to condemn him. My reading implies also that since in the Phaedo Plato subverts Socrates' style of philosophy, so objectionable to Nietzsche, we should take Plato as Nietzsche's ally in the struggle against Socrates rather than his enemy. (shrink)

In this paper, I challenge standard views of the moral badness of sentimentality defended by art critics and philosophers. Accounts based on untruthfulness and self-indulgence lack the resources to both explain the badness of bad sentimentality and to allow that there are benign instances. We are sometimes permitted to be sentimental even though it is self-serving. A non-moralistic account should allow for this. To provide such an account, I first outline a substantive view of the ideal of unsentimentality by turning (...) to Rainer Maria Rilke’s Letters on Cézanne. Rilke celebrates the artist for his unsentimental love of his subjects and “untiring objective wakefulness” to them. I then turn to Iris Murdoch’s ethics of attention (itself influenced by Rilke) to explain why this ideal is so difficult to live up to in practice, the various ways that we fall short, and what our failures mean. What Murdoch contributes is both a sense that the lovingly attentive attitude that Rilke describes is morally—and not just artistically—important and a compassionate account of the human egocentrism that inhibits it. By thinking of sentimentality as a failure of moral attention, we can appreciate how particular instances differ from one another. Sentimentality can console us in difficult times or can gratify our egos; it can be a form of escapism or can rigidly enclose reality; and it can be harmlessly self-serving or a selfish failure to morally attend to the other when it counts. I conclude by outlining some ways that being seen with Cézanne-like moral attention can matter to us. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain, all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art—namely that if one is going to do so, one must ensure the pain has been ‘beautified’. In developing this second point, I argue that emotional hardcore is well-suited (although not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

This anthology focuses on “practical” forms and expressions of knowledge, like thinking through artistic media or by crafting things out of materials. The ten chapters follow and review various tracks in conceptions of contemporary knowledge, exploring human knowledge and experience from the perspective of human activities or practices, professional, artistic, domestic, or whatever. A guiding idea is that human knowledge seldom, perhaps never, fits into the traditional dualism between thinking and doing. -/- The chapters are written by philosophers (...) and musicians – some with a double experience as artists and theoreticians. The themes are philosophical, but above all, they touch on questions that are essential for how we understand ourselves as thinking and playing bodies, indeed as parts of nature. The book does not propose one single “theory of knowledge” but steps towards a more diverse and open attitude to the meaning of knowledge. -/- We hope that the texts will be of interest and useful in both disciplinebased and professional education: in philosophy, art schools, tea cher education, and in other programmes where tacit and practical knowledge are essential for the (future) practitioners. It is possible to independently read, and profit from, most of the chapters. (shrink)

Stanisław Ignacy Witkiewicz and Franciszka and Stefan Themerson constitute a rare constellation of outstanding artists of the 20th century avant-garde. Their best known contributions were a concept of Pure Form and an idea of Semantic Poetry respectively. They all shared multiplicity and diversity of interests and areas of not only artistic activities. Philosophy and science influenced to large extent form and content of their works. Despite their mutual interest in each other’s work they had never met personally and no (...) correspondence between them was found. However similarities in attitudes resulted then in intertwining of their paths of artistic development. One of early Stefan Themerson’s novels featured strong influence of Witkacy works but all his later writings were fully original and individual. However the author believes one can still find some flavours, tones and traces leading to the oeuvre of the author of Insatiability. After leaving Poland in 1938 Themersons had still maintained their interest in Witkiewicz works what finally led to translation and preparation for publishing by Gaberbocchus Press of his two plays – Gyubal Wahazar and Mother featuring Franciszka’s drawings. A brief review of Gaberbocchus Press achievements and resources of the Themersons Archive, established by Jasia Reichardt after their death, constitute a background for an analysis of relationships between Witkacy and Themersons. The fact National Library in Warsaw acquired Themersons heritage alleviated very much access to many very interesting source documents. The author focused on a part of the Archive related to the all aspects of Witkacy’s works. Typescripts of publication ready translated and adapted plays, Vahazar and Mother, which finally remained not published by the Gaberbocchus Press triggered an idea to take up the challenge of publishing a “bestlooker” today. A draft of a bibliophilic bilingual edition of the Gyubal Wahazar drama illustrated with Franciszka Themerson’s drawings (samples are included in the paper) is proposed as a final thought. (shrink)

The form of an action has a strong influence on the interaction between humans. According to their mood, people may perform the same gesture in different ways, such as gently or rudely. These aspects of social communication are named vitality forms by Daniel Stern, represent a mean to establish a direct and immediate connection with others. Indeed, the expression of different vitality forms enables us to communicate our affective states and at the same time the perception of these vitality forms (...) enables people around us to understand how we feel in that moment. In the last years of research, different fMRI studies have been carried out to investigate the neural correlates of vitality forms recognition and execution. Moreover, recent psychophysics studies conducted from our research group have demonstrated the presence of an affective contagion effect, during which vitality forms expressed by an agent affect the action perception and the motor response of the receiver. This means that vitality forms expressed by others can influence our mood positively or negatively, modulating as consequence our behavior. Note that vitality forms pervade our lives in a continuous manner and thus they are not expressed and perceived only during social interactions. For example, when we observe an artistic representation at the theatre, the dynamic postures of dancers, together with an alternation of acceleration and deceleration in their movements, communicate to us different affective states. Also when we are in a museum in front of a painting, lines, colors and shapes used by the artist can elicit in us different sensations and modify our attitude. In this view, with the aim to extend the concept of vitality forms from neuroscience and psychology to other disciplines of study, we dedicate part of this review to discuss how art, in all its forms, can be considered a pure expression of vitality forms. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist (...) movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

My paper proposes a tentative framework of bio-existential semiotics based on a reading of Peirce, Darwin, Heidegger, Tarasti, and others. According to this view, there is an evolutionary continuum to life. Human beings are natural organisms and they exhibit many similar bio-existential phenomena. Natural evolution also produces the anthropological, societal and global semiotic processes that constitute cultural evolution as an outgrowth. In the bio-existential perspective, the world is composed of imperfect systems and imperfect consciousnesses where every lifeform must struggle for (...) its existence. Every “Dasein” must face the fact that it must die because it cannot comprehend or control the universe in its totality. This is why life and existence are “tragic” phenomena. Every bio-existential Dasein is a partial comprehension of the universe, and the only way the universe can comprehend itself is through these partial perspectives, which are born to imperfection and die in imperfection, but whose imperfection is of the essence of the universe. This is why bio-existentialism makes for a “tragic” perspective: we are mortals, and all mortals must die. Nonetheless, there is also hope and optimism in this view of life. In conceiving of existence as having certain universal principles that extend from biology to sociology, semioticians and philosophers can formulate new ways of looking at the world. Together with scientists and artists, they can hopefully work towards a better – or at least more refined – ethical attitude towards science, nature and society. (shrink)

The value of up-hill skiing is double, it is first a sport and artistic expression, second it incorporates functional dependencies related to the natural obstacles which the individual aims to overcome. On the artistic side, M. Dufrenne shows the importance of living movement in dance, and we can compare puppets with dancers in order to grasp the lack of intentional spiritual qualities in the former. The expressivity of dance, as for, Chi Gong, ice skating or ski mountaineering is (...) a particular innocence and lightness which is called grace. It is life without the burden of worries. Grace, in slow progression uphill on snow, is as dance for Dufrenne, it has the most central and specific aesthetical quality of life. Others compared dance to a landscape, a landscape is for the sight, what dance is for life, a symbolical space, different from a usual space, where utility and dependency are present. A mountain can be a space of experience of natural beauty. Aesthetical qualities can be closely related to function related qualities as when a climber needs to adjust his movements to the natural convex inclination of the rocks, and avoid slippery forms of inclination, present on the other side of the mountain. The natural object, the quality of the snow or the rock differ from the aesthetical quality of the style of ascent by the absence of neutralization of the object, in case of a purely instrumental approach. On the contrary, grace in the rhythm of the progression of ski climbers needs a difference of attitude, which is not only proper to the playing, and delimited by the conditions of that play, but as a contingency driven attitude, without signification as radical alterity, without any finality. First ascent of the Matterhorn succeeded from the Swiss side, and not from the Italian side because of the different inclination of the rock on both sides. Grace in dance as in martial art or mountaineering is allowing to perceive an autonomy of the expression, as the truth of the perceived object, it puts away a cognitive and practical orientation and replaces it by a new meaning as movement in the whole set of movements done by the climber. This replacement of the functional expression resembles that operated by the painter who chooses a color in the whole set of colors in a painting, or a shape in the whole set of possible existing shapes. -/- Ref. Dufrenne, Mikel, (1989): The Phenomenology of Aesthetic Experience. Studies in Phenomenology and Existential Philosophy, trans. by Edward S. Casey, 1st publ. in 1953, Evanston: Northwestern University Press. (shrink)

The aim of this article is to examine Edmund Husserl’s theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the (...) synthetic unity of the aesthetic object is limited. Moreover, following Husserl’s theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limitedness of the synthetic unity of the aesthetic object. (shrink)

First, we will address the unnecessary link between symbio-studies and Gaia, asking for the historical and epistemological reasons why they become associated. In particular, we contend that the association is mediated by the common interest in large-scale physico-chemical and biochemical patterns, rather than by an emphasis on harmony, equilibrium, and cooperation (Visvader 1992). Second, we will ask what Gaia is in a metatheoretical sense: is it a scientific hypothesis, a theory, a metaphor, an inspired invention, or a resurgence of antiscientific (...) attitude? After examining some alternatives that show the importance of metatheorizing, we will define Gaia a ‘scientific narrative’, this being a technical term in a sketchy metatheory. Let us just say, for now, that by narrative we don’t mean fairytale or artistic fiction, but rather a way of telling the history of our planet. We are not going to answer the question whether or not we should ban Gaia from any scientific discourse, nor the question how symbio-students should deal with the traditional association of their field with Gaia. But we hope to frame the dilemma in which symbio-students and the scientific community at large are held in a better way than simply insisting on classic demarcations between science and non-science. (shrink)

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

The essay gives an account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong’s reflection on aesthetics stems from a psychological background and comes subsequently to an ontological grounding. After examining the notions of imagination, phantasy-representation, relation and complexion, I show how the theory of production of representations, as well as that of higher-order objects, develops under the impulse of Ehrenfels’ concept of Gestalt qualities; both these theories (...) may be applied to aesthetics in the explanation of artistic creation and of aesthetic objects. Meinong identifies the specific object of aesthetics with the “objective” and distinguishes aesthetic feelings, which are true feelings, from imaginary ones. Witasek develops a psychological aesthetics built on the conceptual framework of Meinongian philosophy: aesthetic properties are ideal and extra-objective, they connect the aesthetic object to the subject’s mental attitude; an aesthetic object is an object endowed with aesthetic properties, such as beauty, which depends on the degree of pleasure or displeasure the object may induce in the subject. Witasek, though, parts from Meinong on both the conception of aesthetic objects and of imaginary feelings. In the last sections, I review the reactions to Witasek’s aesthetics, both positive and negative, within the Graz school itself (in particular Schwarz’ and Saxinger’s ideas on phantasy-feelings, and Ameseder’s on value beauty), and I sketch Ehrenfels’ and Veber’s aesthetic views. (shrink)

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated (...) marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls. (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)

Many anarchists of the late 19th and early 20th expressed a deeply anti-romantic – one might even say chauvinistic – attitude marked by hostility toward artists, intellectuals, bohemians, and other “sentimentalists”; an unwavering commitment to austerity and personal self-denial; and contempt for non-political feelings and relationships, including family relationships. To this extent, many anarchists were simultaneously “romantic” (in the sense of being idealistic) as well as “anti-romantic” (in the sense of being austere, pragmatic, and opposed to sentimentality). In this (...) essay, I argue that the “anti-romantic” tendency exemplified by some anarchists – which I will call “Romantic asceticism” – is actually profoundly Romantic (upper-case ‘R’) insofar as it draws upon various political and philosophical ideas associated with 19th-century Romanticism. At the same time, I will explore the existence of an alternative and countervailing tendency – which I will call “Romantic aestheticism” – which, although it is at least as indebted to Romanticism, stands in fundamental opposition to the former tendency. Further, I will argue that the latter tendency is not only more prevalent among the anarchists of this period but also more influential and significant in the history of anarchist thought and practice. (shrink)

In a letter dated 12 January 1907, written to the poet Hugo von Hofmannsthal, the philosopher Edmund Husserl presents a half-formed analogy between the artist and the phenomenologist. Husserl writes that both the artist and the phenomenologist, in their respective efforts to study the world, share the common attitude of indifference regarding the world’s existence; they both experience the world as phenomena. Both the aesthetic and phenomenological intuitions, then, are marked by the departure from the “natural” attitude, the (...) everyday ordinary attitude of taking objective reality for granted. Husserl concludes the thought by describing how the philosopher, with his observations, goes on to produce a critique of reason, whereas the artist simply gathers materials for his art.2 This is where the comparison apparently ends. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to (...) the body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

Oscar Wilde's The Critic as Artist is shown to foreshadow some key concepts of poststructuralist interpretive theory - such as the necessary interplay of blindness and insight in criticism (Lacan, Paul de Man), or the retroactive effect of interpretation in the construction of the work. More specifically, Wilde's reading of the riddle of the Sphinx in a passage of this work both theorizes and dramatizes the paradoxical relationship between blindness and insight, in the shape of an ironic prophecy which can (...) be read as Wilde's announcement of his own tragic downfall - in which there is an element of compulsive acting out that has been noted by a number of previous critics. That is, Wilde's Sphinx is used as the vehicle of a riddle about Wilde himself, and is an emblem of his own ambivalent attitude toward the public revelation of his homosexuality. (Note: Downloadable file is in Spanish). (shrink)

The scope of the essay is limited by the ideas behind the mechanisation of desire as conceptualised in The Large Glass by Marcel Duchamp. This glass-based installation depicts a convoluted mechanism, as the full-title of the work suggests, representing The Bride Stripped Bare by her Bachelors, Even. Using tropes and figures from his earlier studies, the artist designed a machine for the production of desire, rendering the unconscious mechanical and dynamic. The paper aims to present selected aspects of the installation, (...) including mechanical reproduction (1), technological fetishism (2), transparency (3), as well as to discuss its significance with reference to Deleuze and Guattari’s concept of the Body without Organs (4). The interpretive force of the machine metaphor in the work of Duchamp is analysed in the context of integrative and non-integrative attitudes to technology. (shrink)

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

How do the pictures Wittgenstein and his relatives took during his life relate to his philosophical work? The exhibition at the Leopold Museum in Vienna in 2021 demonstrated a complex network of resemblances, overlaps, and cross-references between Wittgenstein’s way of working and the pictures he collected. In this essay, the network is used as an example to argue that a combination of philosophy and artistic sensibility might be a fruitful enrichment for a philosophical practise.

Cet article vise tout d’abord à manifester la profondeur phénoménologique d’une expérience proustienne, celle des demi-réveils dans l’obscurité, en engageant un dialogue entre l’artiste et le philosophe – Husserl, mais aussi Levinas – autour de la notion de souvenir. Il s’agit de montrer que l’expérience dont il est fait part dans l’œuvre littéraire, inenvisagée par la phénoménologie, vient questionner les descriptions existantes du phénomène de souvenir et exige dès lors de penser le sens de celui-ci à nouveaux frais. Notre propos (...) est le suivant : l’œuvre d’art, en particulier l’œuvre littéraire, doit être un milieu de recherche privilégié pour le phénoménologue. Elle fait renaître les énigmes et, ce faisant, remet la recherche en mouvement, en la forçant à un question­nement plus approfondi. (shrink)

The chapter challenges hyperbolic claims about the centrality of appreciation of beauty to Buddhism. Within the texts, attitudes are more mixed, except for a form of 'inner beauty' - the beauty found in the expression of virtues or wisdom in forms of bodily comportment. Inner beauty is a stable presence throughout Buddhist history, practices, and art.

The attitudes P. F. Strawson dubs reactive are felt toward another (or oneself). They are thus at least in part affective reactions to what Strawson describes as qualities of will that people manifest toward others and themselves. The reactive attitudes are also interpersonal, relating persons to persons. But how do they relate persons? On the deontic, imperative view, they relate persons in second-personal authority and accountability relations. After addressing how best to understand the reactive attitudes as sentiments, I evaluate the (...) deontic imperative view. I argue that the modality of reactive attitudes is not invariably deontic nor is their mood invariably imperative. Certain reactive attitudes are aretaic, appellative sentiments that prescribe non-jural ideals of conduct or character. Although expansive, my resulting conception of the reactive attitudes escapes the charge of failing to distinguish reactive sentiments from “disengaged aesthetic reactions” to the beautiful and ugly in human action and character. (shrink)

In order to handle presuppositions in the scope of attitude verbs, the binding theory allows presuppositions triggered in a subject's beliefs to be bound at the matrix level; and it allows presuppositions triggered in non-doxastic attitudes to be bound in the subject's beliefs (Geurts, 1999; Maier, 2015). However, we argue that this leads to serious overgeneration, for example it predicts that the unacceptable `Sue will come to the party, but Bill is sure that she won't and that only Sue (...) will come to the party' should be equivalent to the acceptable `Sue will come to the party, but Bill is sure that nobody will come to the party'. This is because the presupposition triggered by `only Sue will come to the party' should be able to be bound at the matrix level. We discuss some responses to this problem, but argue that they all have shortcomings. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

Counterfactual attitudes like imagining, dreaming, and wishing create a problem for the standard formal semantic theory of de re attitude ascriptions. I show how the problem can be avoided if we represent an agent's attitudinal possibilities using "multi-centered worlds", possible worlds with multiple distinguished individuals, each of which represents an individual with whom the agent is acquainted. I then present a compositional semantics for de re ascriptions according to which singular terms are "assignment-sensitive" expressions and attitude verbs are (...) "assignment shifters". (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...) there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

In this paper, I raise a problem for standard precisifications of the Relational Analysis of attitude reports. The problem I raise involves counterfactual attitude verbs. such as ‘wish’. In short, the trouble is this: there are true attitude reports ‘ S wishes that P ’ but there is no suitable referent for the term ‘that P ’. The problematic reports illustrate that the content of a subject’s wish is intimately related to the content of their beliefs. I (...) capture this fact by moving to a framework in which ‘wish’ relates subjects to sets of pairs of worlds, or paired propositions, rather than—as is standardly assumed—sets of worlds. Although other types of counterfactual attitude reports, for example those involving ‘imagine’, may be similarly problematic, at this stage it is unclear whether they can be handled the same way. (shrink)

This paper presents a puzzle involving embedded attitude reports. We resolve the puzzle by arguing that attitude verbs take restricted readings: in some environments the denotation of attitude verbs can be restricted by a given proposition. For example, when these verbs are embedded in the consequent of a conditional, they can be restricted by the proposition expressed by the conditional’s antecedent. We formulate and motivate two conditions on the availability of verb restrictions: a constraint that ties the (...) content of restrictions to the “dynamic effects” of sentential connectives and a constraint that limits the availability of restriction effects to present tense verbs with first-person subjects. However, we also present some cases that make trouble for these conditions, and outline some possible ways of modifying the view to account for the recalcitrant data. We conclude with a brief discussion of some of the connections between our semantics for attitude verbs and issues concerning epistemic modals and theories of knowledge. (shrink)

According to the fitting attitude (FA) analysis of value concepts, to conceive of an object as having a given value is to conceive of it as being such that a certain evaluative attitude taken towards it would be fitting. Among the challenges that this analysis has to face, two are especially pressing. The first is a psychological challenge: the FA analysis must call upon attitudes that shed light on our value concepts while not presupposing the mastery of these (...) concepts. The second challenge is normative: the FA analysis must account for the fittingness of the relevant attitudes in terms of a kind of normativity intimately related to these attitudes, but again without presupposing the mastery of the relevant value concepts. In this paper, we show that real progress is possible if we pay close attention to the nature of the attitudes recruited by the analysis. More specifically, we claim that an FA analysis that appeals to emotions conceived as evaluative attitudes — as opposed to, for instance, evaluative judgements or evaluative perceptions — has the best prospects of meeting the two challenges and of putting the FA analysis on a strong footing. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

I offer here a new hypothesis about the nature of implicit attitudes. Psy- chologists and philosophers alike often distinguish implicit from explicit attitudes by maintaining that we are aware of the latter, but not aware of the former. Recent experimental evidence, however, seems to challenge this account. It would seem, for example, that participants are frequently quite adept at predicting their own perfor- mances on measures of implicit attitudes. I propose here that most theorists in this area have nonetheless overlooked (...) a commonsense distinction regarding how we can be aware of attitudes, a difference that fundamentally distinguishes implicit and explicit attitudes. Along the way, I discuss the implications that this distinction may hold for future debates about and experimental investigations into the nature of implicit attitudes. (shrink)

Karttunen observes that a presupposition triggered inside an attitude ascription, can be filtered out by a seemingly inaccessible antecedent under the scope of a preceding belief ascription. This poses a major challenge for presupposition theory and the semantics of attitude ascriptions. I solve the problem by enriching the semantics of attitude ascriptions with some independently argued assumptions on the structure and interpretation of mental states. In particular, I propose a DRT-based representation of mental states with a global (...) belief-layer and a variety of labeled attitude compartments embedded within it. Hence, desires and other non-doxastic attitudes are asymmetrically dependent on beliefs. I integrate these mental state representations into a general semantic account of attitude ascriptions which relies on the parasitic nature of non-doxastic attitudes to solve Karttunen’s puzzle. (shrink)

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...) to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

Vigorous debate over the moral propriety of cognitive enhancement exists, but the views of the public have been largely absent from the discussion. To address this gap in our knowledge, four experiments were carried out with contrastive vignettes in order to obtain quantitative data on public attitudes towards cognitive enhancement. The data collected suggest that the public is sensitive to and capable of understanding the four cardinal concerns identified by neuroethicists, and tend to cautiously accept cognitive enhancement even as they (...) recognize its potential perils. The public is biopolitically moderate, endorses both meritocratic principles and the intrinsic value of hard work, and appears to be sensitive to the salient moral issues raised in the debate. Taken together, these data suggest that public attitudes toward enhancement are sufficiently sophisticated to merit inclusion in policy deliberations, especially if we seek to align public sentiment and policy. (shrink)

Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world (...) and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists. (shrink)

This paper offers a positive account of an important but under-explored class of mental states, non-propositional attitudes such as loving one’s department, liking lattice structures, fearing Freddy Krueger, and hating Sherlock Holmes. In broadest terms, the view reached is a representationalist account guided by two puzzles. The proposal allows one to say in an elegant way what differentiates a propositional attitude from an attitude merely about a proposition. The proposal also allows one to offer a unified account of (...) the non-propositional attitudes that captures both empty and non-empty cases by properly locating the posited representations in the metaphysical structure of the attitudes. (shrink)

A fascinating recent turn in epistemology focuses on inquiring attitudes like wondering and being curious. Many have argued that these attitudes are governed by norms similar to those that govern our doxastic attitudes. Yet, to date, this work has only considered norms that might prohibit having certain inquiring attitudes (“norms of restriction”), while ignoring those that might require having them (“norms of expansion”). We aim to address that omission by offering a framework that generates norms of expansion for inquiring attitudes. (...) The framework draws on inferential erotetic logic, which we explain and augment with some theorems. We explore several of the norms that it yields—some sympathetically, others unsympathetically. (shrink)