There are many things that can be done to educate young people about controversial topics - including historical monuments - in schools. At the same time, however, we argue that there is little warrant for optimism concerning the educational potential of classroom instruction given the interpretative frame of the state-approved history curriculum; the onerous institutional constraints under which school teachers must labour; the unusual constellation of talents history teachers must possess; the frequent absence of marginalized voices in these (...) conversations; and finally, the not unlikely indifference - if not outright hostility - expressed by far too many members of the dominant group. For these reasons, we think it best to expand the scope of educational possibilities one is willing to consider. (shrink)

When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, non-Eurocentric account. The (...) account focuses less on genealogy and more on what necessitates something like an art-historical awareness or attention in the first place. Relying on examples from ancient Mesopotamia, it argues that art-historical thought can be identified whenever and wherever material objects are attended to or produced for their potential to manifest visibly and over time their meaning. (shrink)

Many have argued that certain statues or monuments are objectionable, and thus ought to be removed. Even if their arguments are compelling, a major obstacle is the apparent historical value of those commemorations. Preservation in some form seems to be the best way to respect the value of commemorations as connections to the past or opportunities to learn important historical lessons. Against this, I argue that we have exaggerated the historical value of objectionable commemorations. Sometimes commemorations (...) connect to biased or distorted versions of history, if not mere myths. We can also learn historical lessons through what I call repudiatory honouring: the honouring of certain victims or resistors that can only make sense if the oppressor(s) or target(s) of resistance are deemed unjust, where no part of the original objectionable commemorations is preserved. This type of commemorative practice can even help to overcome some of the obstacles objectionable commemorations pose against properly connecting to the past. (shrink)

A particularly important, pressing, philosophical question concerns whether Confederate monuments ought to be removed. More precisely, one may wonder whether a certain group, viz. the relevant government officials and members of the public who together can remove the Confederate monuments, are morally obligated to (of their own volition) remove them. Unfortunately, academic philosophers have largely ignored this question. This paper aims to help rectify this oversight by moral philosophers. In it, I argue that people have a moral obligation (...) to remove most, if not all, public Confederate monuments because of the unavoidable harm they inflict on undeserving persons. In the first section, I provide some relevant historical context. In the second section, I make my unique harm-based argument for the removal of Confederate monuments. In the third section, I consider and rebut five objections. (shrink)

In recent years, a new generation of activists has reinvigorated debate over the public commemorative landscape. While this debate is in no way limited to statues, it frequently crystallizes around public representations of historical figures who expressed support for the oppression of certain groups or contributed to their past or present oppression. In this paper, I consider what should be done about such representations. A number of philosophers have articulated arguments for modifying or removing public monuments. Joanna Burch-Brown (...) (2017) grounds her argument for removal in what I call the “honorific” function of such representations—the ways in which they express and tend to cultivate admiration for their subjects. In the first two sections of the paper, I develop a novel argument for modifying these representations based on this insight. I argue that leaving such representations unmodified in the public space tends to undermine the dignity of members of oppressed groups as well as their assurance that society and government are committed to their rights and constitutional entitlements. In the paper’s third section, I develop a “balancing test” for determining whether the relevant moral and pragmatic considerations favor making a particular representation inaccessible to the public, or recontextualizing it for public consumption. Unlike some of the existing philosophical treatments of honorific representations that focus on particular monuments, this balancing test is designed for general application to any honorific representation that satisfies the presumptive case for modification. To conclude, I offer some reasons why weak forms of recontextualization that do not involve altering institutional context may often be an insufficient remedy for the problems I describe. (shrink)

The historical and literary Monuments of Central Asia are the repositories of civilization, culture and aesthetic tastes of their creators and their milieu over millennia. Though some existed in manuscript, a large portion survived dozens of centuries as part of the oral tradition. After printing press licenses were wrestled by the Central Asians from the Russian government during the 19th century, many were collected by the Central Asians and others, and published. The Monuments have proved to be (...) durable. Primarily works of Central Asian thought, they belong also to civilization at large, representing the endeavors of human activity. (shrink)

[Updated 2/23/21: complete chapter scan] In this chapter I sketch a rightist approach to monumentary policy in a diverse polity beleaguered by old ethnic grievances. I begin by noting the importance of tribalism, memorialization, and social trust. I then suggest a policy which 1) gradually narrows the gap between peoples in the heritage landscape, 2) conserves all but the most offensive of the least beloved racist monuments, 3) avoids recrimination (i.e., “keeps it positive”) and eschews ideological commentary in new (...) monuments or revisions to old ones, 4) as much as politically feasible, recognizes only the offense of willing tribemates, and 5) responds to aesthetic and other “irrational” offenses more than to “objective” historical or philosophical critiques. (shrink)

The Antiquities Act gives the president the power to designate “objects of historic or scientific interest” as “national monuments.” Presidents have used this power expansively, protecting massive tracts of federal land, often by claiming that very large things, such as the Grand Canyon or even entire landscapes, are “objects” in the requisite sense. There is legal debate over such uses of the Act, with critics arguing that they depart from the original intent and meaning of the legislation. What has (...) been less discussed, however, is whether the Act allows presidents to protect just the object of interest (whatever it turns out to be), or whether it allows presidents to protect a substantial amount of land around objects of interest. I draw from language in the Antiquities Act and existing case law to argue the latter. Due to the nature of “historic and scientific interest,” protecting an object with such interest often requires protecting certain features of the broader landscape. This holds regardless of what counts as an “object of interest.” As a result, it offers a way to argue on certain critics’ own grounds for more expansive designations: even granting a narrow, originalist conception of what qualifies as an “object,” large designations can be justified. (shrink)

The aim of the study is to develop theoretic and methodological recommendations and practical activities for the positive social, managerial, organizational and economic development of historical and cultural tourist destinations. In theoretical terms: the role of historical and cultural tourist destination in the development of the region has been established; the historical and cultural tourist destinations have been identified; the author’s classification of historical and cultural tourist destinations has been developed basing tourist visiting activeness; the author’s (...) methodological approach to the diagnosis and creating tools for development of historical and cultural tourist destinations, comprehensively taking into account resource and factor components, has been presented. In practical terms: variations of the activities aimed at the positive development of historical and cultural tourist destinations have been proposed; the description of measures aimed at the creation of a historical and cultural complex on the example of the designed historical and cultural complex “Stara Samar” has been given. The results of the study are applicable for a wide range of historical and cultural tourist attractions: territories, landscapes and elements of landscapes, historical settlements, parks, film studios, historical and cultural heritage sites, history and culture monuments, burial sites, places of worship, sites of social cultural infrastructure. The author’s recommendations provide obtaining commercial results and ensuring a social and cultural effect for businessmen, managers, local communities in the management of existing or in the creation of new historical and cultural tourist destinations. (shrink)

‘Heritage’ is a concept that often carries significant normative weight in moral and political argument. In this article, I present and critique a prevalent conception according to which heritage must have a positive valence. I argue that this view of heritage leads to two moral problems: Disowning Injustice and Embracing Injustice. In response, I argue for an alternative conception of heritage that promises superior moral and political consequences. In particular, this alternative jettisons the traditional focus on heritage as a primarily (...) positive relationship to the past, and thus offers resources for coming to terms with histories of injustice. (shrink)

Consciousness has appeared as a term and a problem in modern science. Most scientists believe that it can be accommodated and explained by existing scientific principles. But I say it cannot, that it points beyond present day science to a whole new view of the Universe, in which Consciousness, and not matter, or matter/energy, is the true basis of the Universe. Consciousness is for modern science exactly what Light was for classical physics, all of our concepts for Reality must change. (...) And I go on to lay out my arguments for this new principle Consciousness, and what it real means, for our ideas about the Universe, the Earth, Ourselves and Spirit. In a nutshell, the hard problem of Consciousness the mind/body problem and the near-death experience are so hard they cannot be explained by any present day scientific principles and therefore call all of modern science into question. My arguments are up on PhilPapers and on the Galileo Commission's website. What I now want to do is work out the implications of Consciousness as the basic new principle, for how we deal with monumental issues now facing us in these times. Here are a series of articles about my themes. (shrink)

After the WHS inscription of the Historic Centre of Macau in 2005, the relationship between citizens of Macau and their heritage is not distanced. Most of these monuments remain functional for religious and social purposes and are actively engaged in public commercial activities such as the annual Macau Light Festival. Several historic houses have been transformed into either a permanent library or a museum where people can experience various events. With such frequent interaction, these monuments are more than (...) just heritage to locals; they are the venues where people’s daily lives are attached. However, this familiarity will cause a paradox in preservation since losing the distance might mean being unable to deliver the message of protection. It would be difficult to find a balance between preservation and reuse of heritage. This paper will use the Historic Centre of Macau as a case study to discuss the types of adaptive reuse in Macau and propose potential risks of these approaches. (shrink)

In het spoor van de moord op George Floyd door een politieagent in Minneapolis, vinden er wereldwijd ‘Black Lives Matter’ protesten plaats. De beeldenstorm in ons land sluit hierbij aan. Acties van fanatici, of hebben ze een punt dat we liever niet onder ogen zien? Beelden van dubieuze nationale helden horen in museum thuis, niet op straat.

What makes a culture and what are the cultural traits identified by people are important questions to be developed more within diaspora studies. This article proposes a critical inquiry into the ways of defining socio-cultural traits through the discussions with Indian diaspora living in the context of Western culture. It suggests hypothesis that there is a possibility of hybrid cultures between the Eastern and Western. The ontological status of being ‘Indian’ would be different while living in India and abroad, and (...) the cultural ontology in those subject positions would also vary to produce hybrid cultures. Theories of migration, culture and gender constitute a background and framework in this study. Reflections on cultural identity and cultural traits are obtained in this study through direct interviews with diaspora Indians living in Germany. In this process of analyses, the methodology of gender is adopted along with other methods of qualitative research to see how the socio-cultural perspectives change after migration to Western cultures, and how those are different among men and women. The preliminary argument derived in this article is that cultural traits can be traced in aspects of people’s daily life, but not only through dominant art forms, literature or historical monuments. It is done with a critical perspective on the existing dominant methods of defining culture. This study has a critic on existing methodologies that are Eurocentric, male-centric and neglecting the individual and mundane experiences of people who live in varied cultural contexts with complex cultural identities. Key words: Culture, Gender, Migration, Germany, Indian Diaspora, Hybridity. (shrink)

Corey W. Dyck presents a new account of Kant's criticism of the rational investigation of the soul in his monumental Critique of Pure Reason, in light of its eighteenth-century German context. When characterizing the rational psychology that is Kant's target in the Paralogisms of Pure Reason chapter of the Critique commentators typically only refer to an approach to, and an account of, the soul found principally in the thought of Descartes and Leibniz. But Dyck argues that to do so is (...) to overlook the distinctive rational psychology developed by Christian Wolff, which emphasized the empirical foundation of any rational cognition of the soul, and which was widely influential among eighteenth-century German philosophers, including Kant. In this book, Dyck reveals how the received conception of the aim and results of Kant's Paralogisms must be revised in light of a proper understanding of the rational psychology that is the most proximate target of Kant's attack. In particular, he contends that Kant's criticism hinges upon exposing the illusory basis of the rational psychologist's claims inasmuch as he falls prey to the appearance of the soul as being given in inner experience. Moreover, Dyck demonstrates that significant light can be shed on Kant's discussion of the soul's substantiality, simplicity, personality, and existence by considering the Paralogisms in this historical context.Readership: Scholars and advanced students in history of philosophy, especially those working on Kant. (shrink)

A murder of an Afro-American detainee by a policeman at the end of May 2020 caused a public outrage in the United States, which led to a campaign against the monuments to historical figures whose reputation, according to the protesters, was marred by racism. Some German publicists, impressed by the campaign, initiated an analogous search for racists among the national thinkers and politicians of the past. Suddenly Kant emerged as a ‘scapegoat’. This statement is an attempt to assess (...) such reactions from the perspective of Russia’s experience. (shrink)

C. I. Lewis (I883-I964) was the first major figure in history and philosophy of logic—-a field that has come to be recognized as a separate specialty after years of work by Ivor Grattan-Guinness and others (Dawson 2003, 257).Lewis was among the earliest to accept the challenges offered by this field; he was the first who had the philosophical and mathematical talent, the philosophical, logical, and historical background, and the patience and dedication to objectivity needed to excel. He was blessed (...) with many fortunate circumstances, not least of which was entering the field when mathematical logic, after only six decades of toil, had just reaped one of its most important harvests with publication of the monumental Principia Mathematica. It was a time of joyful optimism which demanded an historical account and a sober philosophical critique. Lewis was one of the first to apply to mathematical logic the Aristotelian dictum that we do not understand a living institution until we see it growing from its birth. (shrink)

The article is based on an analysis of the works of the French historian Pierre Nora, who, trying to find a "true" history, comes to the opposition of history and memory. Outright political agitation and national imperatives are dominated in History, therefore history cannot be correct and objective. Instead of history, the philosopher believes, we should focus on the right memory. But when memory itself has been torn apart, it can only exist on the basis of "memory places" - mnemonic (...) places. The power of memory is preserved now in the places of memory that accumulate and preserve history. Places of memory have lost their physical or geographical meanings. Meaning and sense are made places of memory, important place for history. Due to the nature of the memory places, the multiplicities of their interpretations are the normal. And the past, therefore, became a poly semantic space, focused on the co-presence of many different versions of the interpretation of the same memorial structures (monuments, historical facts and events, texts of the past). Contrasting memory and history, P. Nora concludes about "the tyranny of memory (it is reminiscent of Reeker's statement). In his opinion, at any moment the memory is ready to lift history under itself, to "memorize" it, it deeply and dangerously distorts the meaning of words. Precisely because there is no collective memory, the places of memory appear that designed to compensate for its absence. When the space of memory disappears, mnemonic places appear. It is through mnemonic places (places of memory) as spaces that provide access to traditions, Nora moves from the present to the past. But the noble goal of finding the truth, of recreating traditions, has turned into honoring memory for political purposes, where the past has become the rhetorical construct of the present. Hence, the perception of truth is changing. Now, the truth is not in the "factuality" of the data, but in their "relevance". In the end, Nora makes a rather devastating conclusion for history- that the past has lost its meaning, the present historical consciousness gives meaning to all possible and valid versions of the past, and that official memory (politics of memory) is associated with practices of selective forgetting or memory. (shrink)

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

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

It is widely thought that stealing, trading and destroying cultural artifacts in time of war are inherently immoral actions, and that it is right that they be treated as war crimes, which, indeed, they currently are. But oppressive cultures have their heritage and cultural artifacts too, in the form of monuments, sites of worship, and so on; and for the oppressed, these things may be awful reminders of their subordination, and may even perpetuate it. This chapter suggests that, since (...) cultural objects can be both tools and symbols of unjust oppression, their theft and destruction ought to be seen as appropriate when this would be a means of overcoming oppression. Whatever current law may say, in these instances, it would be morally inappropriate to count such acts as war crimes. Furthermore, it is bizarre that theft and destruction of cultural property are counted as war crimes when soldiers killing each other is not (due to combatant immunity). Surely killing is worse than property destruction and theft. It is therefore argued that, where possible, it would be better for conflicts to be fought using the latter methods. Finally, the chapter responds to many objections to using theft and destruction of cultural property as a method of warfare. E.g. to the objection that such property has timeless, trans-cultural, aesthetic, historical and scientific value, it is replied that justice is a more important value; and to the objection that these practices amount to cultural genocide it is replied that unjust cultures have no right to exist unmodified. (This chapter was formerly entitled: "Culture Weaponized: A Contrarian Theory of the Sometime Appropriateness of the Destruction, Theft and Trade of Art and Cultural Artifacts in Armed Conflict." The PhilPapers archived version is a pre-penultimate version of the published version.). (shrink)

There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important identity-shaping role, and (...) bad public history can commit specifically ontic injustice. Understanding bad public history in terms of ontic injustice helps understand not just to address bad public history statues, but also understand the value of public history more broadly. (shrink)

Metamorphosis as it is represented by some pre-historical artists seems problematic for our occidental point of view. In fact, it seems to be strongly against identity and law of non-contradiction. Becoming in general is also viewed as an error or exception by our classic point of view. This very claim can conduct to theories of non-classical logic. Deleuze and Guattari in their monumental work had tried to offer enormous contributions in order to comprehend the becoming phenomenon. Through a pre- (...) class='Hi'>historical representations analysis, with also an intrusion in contemporary art's field, I want to confront with possible metamorphosis representations remain theoretically founded in the deleuzian proposal in dialogue with phenomenological inquiry. New principle of individuation and analysis of expression provide new looks to arisen problems with classical logic and metamorphosis representations, which will be acceptable and comprehensible as art shows. (shrink)

Metamorphosis seems problematic for our occidental point of view. Becoming in general is viewed as an error or exception by our classic standpoint. In fact, it is strongly against identity and law of non-contradiction: A is fundamentally something different from B and for A it is impossible to be at the same time B. We need to think A as what-becomes-B in order to make metamorphosis possible. Anyway, how can A become B? As a matter of fact, this very claim (...) has been historically the most common critic opposed to becoming. Deleuze and Guattari in their monumental work had tried to offer an enormous contribution to a few related problems. Redefining the subject as an event described by movement and affect can exceed the metamorphosis’ aporia. This new principle of individuation provides a new look upon arisen questions primarily because affects and movements are constant coordinates that define how metamorphosis is experienced. The paper tries to show how the betweenness in action in the encounter with people, human beings, things, animals, plants and minerals defines the logic field of metamorphosis. This is shown in dialogue with the ontological turn in anthropology that is particularly focused on this affective and lively dimension of encounter especially among Amazonian populations. Actually this is also what happens in our – occidental and classical but live – relation with things and objects, as long as we try to think a real conceptualisation of experience. (shrink)

The History of Religious Beliefs and Ideas represents the Eliadian opus magnum, as the Romanian scholar notes in the pages of his Journal. The work, published in three volumes, contains, from a historical perspective, the ideas about the sacred and the profane that Eliade developed in previous works from a phenomenological perspective. Although criticisms have been leveled at Mircea Eliade’s presentation of religious data in this monumental work, The History of Religious Beliefs and Ideas remains a point of reference (...) for both the study of the history of religions and the analysis of Eliadian thought and contribution to the discipline. (shrink)

Most artworks—or at least most among those standardly subject to philosophical scrutiny—appear to be singular, stand-alone works. However, some artworks (indeed, perhaps a good many) are by contrast best viewed in terms of some larger grouping or ordering of artworks. i.e., as a series. The operative art-theoretic notion of series in which I am interested here is that of an individual and distinct artwork that is itself non-trivially composed of a non-trivial sequence of artworks (e.g., Walter de Maria’s Statement Series, (...) Krzysztof Kieslowski’s Three Colors)—as opposed to an art-historically informative or art critically productive thematically, stylistically, or formally unified ordering or grouping of individual and distinct artworks within an artist’s larger body of work (e.g., Kiki Smith’s Blue Print series, Dan Flavin’s Monuments to V. Tatlin series, Jeff Koons’ Made in Heaven series, Robert Rauschenberg’s Tribute 21 series). Given this, my aim is simply to sketch a minimal descriptive and classificatory framework for serial art within which certain informative distinctions may be made and further philosophical enquiry may productively take place. (shrink)

Much too often, we are guilty of monumentalizing historical persons. As monuments, these people stop being persons, and instead function as placeholders. Monuments can be placeholders for that which is good, or that which is bad. Depending upon one's predictions for such phenomena as "The Enlightenment" and "The Scientific Revolution", one is likely to place either wreaths or garbage at the foot of the monument that is René Descartes. To his credit, Keith Devlin does neither in "Goodbye,Descartes". (...) In the post-war era, trendy circles often find Descartes to be the convenient whipping-boy for all that is wrong with our relationship to the natural world: the subject-object divide, a dispassionate attitude, hyper-rationality, and a context-free world of practices. This use of Descartes ultimately means that no longer does anyone seriously examine his work or closely trace its ramifications. Instead one just evokes his name as the locus of rationality, the side of the Enlightenment, or the turning point from enchantment. (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)

How do archaeologists make effective use of physical traces and material culture as repositories of evidence? Material Evidence is a collection of 19 essays that take a resolutely case-based approach to this question, exploring key instances of exemplary practice, instructive failures, and innovative developments in the use of archaeological data as evidence. The goal is to bring to the surface the wisdom of practice, teasing out norms of archaeological reasoning from evidence. -/- Archaeologists make compelling use of an enormously diverse (...) range of material evidence, from garbage dumps to monuments, from finely crafted artifacts rich with cultural significance to the inadvertent transformation of landscapes over the long term. Each contributor to Material Evidence identifies a particular type of evidence with which they grapple and considers, with reference to concrete examples, how archaeologists construct evidential claims, critically assess them, and bring them to bear on pivotal questions about the cultural past. -/- Historians, cultural anthropologists, philosophers, and science studies scholars are increasingly interested in working with material "things" as objects of inquiry and as evidence – and they acknowledge on all sides just how challenging this is. One of the central messages of the book is that close analysis of archaeological best practice can yield constructive guidelines for practice that have much to offer practitioners within archaeology and well beyond. (shrink)

Ancient Egyptians precisely direct their temples and tombs to specific astronomical points, as attested in the designs of the Old kingdom pyramids and related temples. Likewise, the same approach was used in many religious and funerary buildings across the sequential historical epochs of ancient Egypt. This research introduces what can be called "astronomical design improvements" conducted by ancient Egyptians to secure a precise orientation for a specific direction of religious and funerary monuments. Moreover, this precise orientation requires observatories (...) used for the orientation and monitoring of geographical directions. Therefore, this paper discusses the inquiring; are there any Astronomical Observatories evidences in ancient Egypt? (shrink)

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

A person can appropriately manifest respect toward a world heritage ruin by developing a sensitive understanding of the ruin’s cultural and historical context and significance. In this paper, we link such respectful understanding to the question of the aesthetic appreciation of world heritage ruins. Our claim is that an aesthetic appreciation of a world heritage ruin qua world heritage ruin typically involves two things: first, the responsibility not to neglect the individuality of the object, and, second, a commitment to (...) the idea that it is the object—respectfully conceived—which must be the focus of our appreciation. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and (...) emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

This is a short reply to Dan Demetriou's "Ashes of Our Fathers: Racist Monuments and the Tribal Right." Both are included in Oxford University Press's Ethics, Left and Right: The Moral Issues That Divide Us.

While much has been said about what ought to be done about the statues and monuments of racist, colonial, and oppressive figures, a significantly undertheorised aspect of the debate is the aesthetics of commemorations. I believe that this philosophical oversight is rather unfortunate. I contend that taking the aesthetic value of commemorations seriously can help us a) better understand how and the extent to which objectionable commemorations are objectionable, b) properly formulate responses to aesthetic defences of objectionable commemorations, and (...) c) help us explore aesthetic solutions—for example, artistic interventions as counterspeech—to objectionable commemorations. Here, I propose that the aesthetic value of objectionable commemorations can amplify the force of the objectionable messages conveyed, and the moral disvalue of objectionable commemorations can hinder our appreciation of their aesthetic value. These two considerations shall help us answer the practical question of what to do about objectionable commemorations of apparently good aesthetic value. Both, I shall argue, give us further reason to remove, replace, recontextualise, or even vandalise objectionable commemorations. Sometimes we need to save the art from its own immorality to best respect its aesthetic value. (shrink)

In this chapter we focus on the debate over publicly-maintained racist monuments as it manifests in the mid-2010s Anglosphere, primarily in the US (chiefly regarding the over 700 monuments devoted to the Confederacy), but to some degree also in Britain and Commonwealth countries, especially South Africa (chiefly regarding monuments devoted to figures and events associated with colonialism and apartheid). After pointing to some representative examples of racist monuments, we discuss ways a monument can be thought racist, (...) and neutrally categorize removalist and preservationist arguments heard in the monument debate. We suggest that both extremist and moderate removalist goals are likely to be self-defeating, and that when concerns of civic sustainability are put on moral par with those of fairness and justice, something like a Mandela-era preservationist policy is best: one which removes the most offensive of the minor racist monuments, but which focuses on closing the monumentary gap between peoples and reframing existing racist monuments. (shrink)

I propose that removed statues be placed in a monument graveyard. This would transfigure a monument, whose purpose is to honour a person or evoke a “glorious past,” into a memorial, whose purpose is to help us grieve. Thus, we dethrone the man who committed violent racists acts, like Edward Colson, and place the statue’s corpse in a graveyard. This repurposing will give old monuments new meanings more in line with our contemporary values.

This is my reply essay (1000 words) to Travis Timmerman's "A Case for Removing Confederate Monuments" in Bob Fisher's _Ethics, Left and Right: The Moral Issues That Divide Us_ volume (2020). In it, I explain why I think the mere harm from the racial offense a monument may cause does not justify removing it.

This essay questions three widespread assumptions in monument debates it terms “moralism,” “universalism,” and “interpretive dominance.” Roughly: moralism assumes that memorials should be only to good people or good causes; universalism holds that memorials should represent or be “for” the whole polity or its (real or supposed) corporate values; interpretive dominance maintains that, when faced with monuments with reasonable qualifying and disqualifying interpretations, policy should respond to the disqualifying one(s). These assumptions do not settle the debates between removalists and (...) preservationists, but they do make the removalist position easier to defend. Various counterexamples to these assumptions, real and imagined, motivate competing positions I term “sentimentalism,” “particularism,” and “interpretive independence.”. (shrink)

This paper advances a fresh theorization of historicity. The word and concept of historicity has become so widespread and popular that they have ceased to have definite meaning and are used to stand for unsupported notions of the values inherent in human experience. This paper attempts to repair the concept by re-defining it as the temporal aspect of the interdependence of life; having history is to have a life intertwined with the lives of all others and with the universe. After (...) separating out the looser uses, surveying some of the literature, and defining what needs to be done, the paper examines shortcomings in the very different and widely influential conceptions of historicity of Koselleck and Heidegger. It then advances a new conception and fits it into the theoretical and moral capabilities of the philosophy of history as a core of philosophical anthropology. (shrink)

The objective of the paper is the methodological presentation of the basic principles towards a critical interdisciplinary approach for studying the history of monuments restoration, valid for different cultures. The proposed integrated framework offers the possibility to study and document monuments restoration in various spatial levels e.g. global, continental, international, national, regional, and local. The conceptual and methodological aspects are based on the following fundamental pillars a) the development of science and technology, including relevant history of education, b) (...) the evolution of the restoration philosophy, c) the incorporation of the above in restoration projects at a lower level, d) the infiltration of the above in restoration interventions at the lowest level. The author expects that the above successive and/or parallel levels of scientific branches can contribute effectively to the analysis, synthesis and comparative assessment of the aspects and criteria that influenced monuments restoration timeline. The challenge for the researcher of the monuments restoration history is the adjustment of the whole process to his own –under research- level in such a way as to take advantage of all theinterdisciplinary inputs creating, thus, inventive links and stimulating new information and knowledge. The above are briefly tested in the case study of Thessaloniki, Macedonia, Greece. Such an inductive approach will enable all disciplines to devote their finest efforts towards understanding, documenting and studying monuments restoration history and, thus, support effectively a sustainable future for the world’s cultural heritagel audience. (shrink)

Tainted political symbols ought to be confronted, removed, or at least recontextualized. Despite the best efforts to achieve this, however, official actions on tainted symbols often fail to take place. In such cases, I argue that political vandalism—the unauthorized defacement, destruction, or removal of political symbols—may be morally permissible or even obligatory. This is when, and insofar as, political vandalism serves as fitting counter-speech that undermines the authority of tainted symbols in ways that match their publicity, refuses to let them (...) speak in our name, and challenges the derogatory messages expressed through a mechanism I call derogatory pedestalling: the glorification or honoring of certain individuals or ideologies that can only make sense when members of a targeted group are taken to be inferior. (shrink)

The paper addresses recent developments in historical epistemology, traces the main inspirational sources that feed this approach, and suggests a possible agenda for closer approximation between historical epistemology and the human sciences in studying thought styles and thought collectives, conceptual and theoretical levels of knowledge and the material culture of science.

Deployment Realism resists Laudan’s and Lyons’ objections to the “No Miracle Argument” by arguing that a hypothesis is most probably true when it is deployed essentially in a novel prediction. However, Lyons criticized Psillos’ criterion of essentiality, maintaining that Deployment Realism should be committed to all the actually deployed assumptions. But since many actually deployed assumptions proved false, he concludes that the No Miracle Argument and Deployment Realism fail. I reply that the essentiality condition is required by Occam’s razor. In (...) fact, there is a simpler formulation of essentiality which escapes Lyons’ criticisms and rescues the No Miracle Argument and Deployment Realism from their purported historical counterexamples: a hypothesis is essential when it has no proper parts (in Yablo’s sense) sufficient to derive the same prediction. Although essentiality so conceived cannot be detected prospectively, this is just natural, and it is not a problem but an advantage for Deployment Realism. (shrink)

Advocates of remedying historical injustices urge political communities to take responsibility for their past, but their arguments are ambiguous about whether all past injustices need remedy, or just those regarding groups that suffer from current injustice. This ambiguity leaves unanswered the challenge of critics who argue that contemporary injustices matter, not those in the past. I argue instead for a focus on injustices that have roots in the past, and continue to the present day, what I call enduring injustice. (...) Instead of focusing on finding the party responsible for the injustice, I argue that we use history to help us understand why some injustices endure, which I suggest is partly due to the limitations of liberal justice. I conclude with a conception of responsibility for repairing enduring injustice that deemphasizes searching for the causal agent, and instead focuses on how to repair the injustice, which I explain through an expansive conception of shared space. (shrink)

I review prominent historical arguments against scientific realism to indicate how they display a systematic overshooting in the conclusions drawn from the historical evidence. The root of the overshooting can be located in some critical, undue presuppositions regarding realism. I will highlight these presuppositions in connection with both Laudan’s ‘Old induction’ and Stanford’s New induction, and then delineate a minimal realist view that does without the problematic presuppositions.

Over the course of human history there appears to have been a global shift in moral values towards a broadly ‘liberal’ orientation. Huemer argues that this shift better accords with a realist than an antirealist metaethics: it is best explained by the discovery of mind-independent truths through intuition. In this article I argue, contra Huemer, that the historical data are better explained assuming the truth of moral antirealism. Realism does not fit the data as well as Huemer suggests, whereas (...) antirealists have underappreciated resources to explain the relevant historical dynamics. These resources include an appeal to socialization, to technological and economical convergences, to lessons learned from history, to changes induced by consistency reasoning and to the social function of moral norms in overcoming some of the cooperation problems that globalizing societies face. I point out that the realist’s explanans has multiple shortcomings, that the antirealist’s explanans has several explanatory virtues, and conclude that the latter provides a superior account of the historical shift towards liberal values. (shrink)

The paper describes the author's experience in using the history of science in teaching physics to science teachers. lt was found that history becomes more useful to teachers when explicitly combined with 'investigative' experimentation, which, in turn. can benefit from various uses of the history of science.

At the beginning of the present century, a series of paradoxes were discovered within mathematics which suggested a fundamental unclarity in traditional mathemati­cal methods. These methods rested on the assumption of a realm of mathematical idealities existing independently of our thinking activity, and in order to arrive at a firmly grounded mathematics different attempts were made to formulate a conception of mathematical objects as purely human constructions. It was, however, realised that such formulations necessarily result in a mathematics which lacks (...) the richness and power of the old ‘platonistic’ methods, and the latter are still defended, in various modified forms, as embodying truths about self-existent mathematical entities. Thus there is an idealism-realism dispute in the philosophy of mathematics in some respects parallel to the controversy over the existence of the experiential world to the settle­ment of which lngarden devoted his life. The present paper is an attempt to apply Ingarden’s methods to the sphere of mathematical existence. This exercise will reveal new modes of being applicable to non-real objects, and we shall put forward arguments to suggest that these modes of being have an importance outside mathematics, especially in the areas of value theory and the ontology of art. (shrink)

In this article, I argue that arguments from the history of science against scientific realism, like the arguments advanced by P. Kyle Stanford and Peter Vickers, are fallacious. The so-called Old Induction, like Vickers's, and New Induction, like Stanford's, are both guilty of confirmation bias—specifically, of cherry-picking evidence that allegedly challenges scientific realism while ignoring evidence to the contrary. I also show that the historical episodes that Stanford adduces in support of his New Induction are indeterminate between a pessimistic (...) and an optimistic interpretation. For these reasons, these arguments are fallacious, and thus do not pose a serious challenge to scientific realism. (shrink)