Meaning defines language because it is the internal function of language. At the same time, meaning does not exist unless in language and because of language. From the point of view of the speaking subject meaning is contents of conscience. From the point of view of a language, meaning is the objectification of knowledge in linguistic signs. And from the point of view of the individual speaking subject, meaning is the expressive intentional purpose to say something.

In an effort to produce new and more sustainable technologies, designers have turned to nature in search of inspiration and innovation. Biomimetic design (from the Greek bios, life, mimesis, imitation) is the conscious imitation of biological models to solve today's technical and ecological challenges. Nowadays numerous different approaches exist that take inspiration from nature as a model for design, such as biomimicry, biomimetics, bionics, permaculture, ecological engineering, etc. This variety of practices comes in turn with a wide range of different (...) promises, including sustainability, increased resilience, multi-functionality, and a lower degree of risk. How are we to make sense of this heterogeneous amalgam of existing practices and technologies, and of the numerous promises attached to them? We suggest that a typology of biomimetic approaches would provide a useful hermeneutic framework to understand the different tensions that pull this variegated landscape in different directions. This is achieved through a critical analysis of the literature in different fields of biomimetic design and the philosophy of biomimicry, in order to derive conceptual and normative assumptions concerning the meaning and value of the imitation of nature. These two dimensions are then intersected to derive an analytical grid composed of six different biomimetic types, which enable the classification of existing and possible biomimetic approaches, practices, and technologies according to their specific conceptual assumptions and guiding norms. (shrink)

This paper attempts to answer a central question in unsupervised learning: what does it mean to “make sense” of a sensory sequence? In our formalization, making sense involves constructing a symbolic causal theory that both explains the sensory sequence and also satisfies a set of unity conditions. The unity conditions insist that the constituents of the causal theory – objects, properties, and laws – must be integrated into a coherent whole. On our account, making sense of sensory (...) input is a type of program synthesis, but it is unsupervised program synthesis. Our second contribution is a computer implementation, the Apperception Engine, that was designed to satisfy the above requirements. Our system is able to produce interpretable human-readable causal theories from very small amounts of data, because of the strong inductive bias provided by the unity conditions. A causal theory produced by our system is able to predict future sensor readings, as well as retrodict earlier readings, and impute (fill in the blanks of) missing sensory readings, in any combination. In fact, it is able to do all three tasks simultaneously. We tested the engine in a diverse variety of domains, including cellular automata, rhythms and simple nursery tunes, multi-modal binding problems, occlusion tasks, and sequence induction intelligence tests. In each domain, we test our engine's ability to predict future sensor values, retrodict earlier sensor values, and impute missing sensory data. The Apperception Engine performs well in all these domains, significantly out-performing neural net baselines. We note in particular that in the sequence induction intelligence tests, our system achieved human-level performance. This is notable because our system is not a bespoke system designed specifically to solve intelligence tests, but a general-purpose system that was designed to make sense of any sensory sequence. (shrink)

This paper investigates how global coherence is represented in consciousness. It summarizes various lines of research that I have developed over the last twenty years, employing a method that intersects phenomenological with bio-functional analysis. The phenomenological analysis derives from William James's treatment of the fringe, especially a component feeling he called 'right direction'and I call 'rightness'. My bio-functional analysis centres on the limitations of consciousness, and the design strategies that have evolved to finesse these limitations. I argue that fringe phenomenology, (...) in general, has been shaped by its cognitive functions. The function of rightness, in particular, is to represent degrees of fit between a conscious content and the vast body of relevant non-conscious context information. Rightness, then, signals degrees of global positive evaluation. Phenomenologically, rightness is the common element in our feeling that something is a coherent whole: that it is meaningful, correct, fits together, makes sense. It is at the heart of the Aha! experience and, when intense, aesthetic and mystical experience. This analysis also provides a new argument for the efficacy of conscious volition, and a general view of consciousness as a biological information bearing medium. (shrink)

Meaning as the original function of language is the arrangement of internal things on the part of the creative and historical individual subject who speaks a particular language. Meaning constitutes the series of contents making up the linguistic world human subjects can manage real things with. Real things are not described with meanings but merely represented and designated. Meanings represent the essence of things thus making them members of a category. In this sense, meaning is the base to create (...) things in as much as they constitute entities. Only through the operation of determination can meanings designate individual real things. Since meaningful categories are intended to particular purposes, meaning is intentional and inclusive. (shrink)

Much discussion of meaning by philosophers over the last 300 years has been predicated on a Cartesian first-person authority (i.e. “infallibilism”) with respect to what one’s terms mean. However this has problems making sense of the way the meanings of scientific terms develop, an increase in scientific knowledge over and above scientists’ ability to quantify over new entities. Although a recent conspicuous embrace of rigid designation has broken up traditional meaning-infallibilism to some extent, this new dimension to the (...) meaning of terms such as “water” is yet to receive a principled epistemological undergirding (beyond the deliverances of “intuition” with respect to certain somewhat unusual possible worlds). Charles Peirce’s distinctive, naturalistic philosophy of language is mined to provide a more thoroughly fallibilist, and thus more realist, approach to meaning, with the requisite epistemology. Both his pragmatism and his triadic account of representation, it is argued, produce an original approach to meaning, analysing it in processual rather than objectual terms, and opening a distinction between “meaning for us”, the meaning a term has at any given time for any given community and “meaning simpliciter”. the way use of a given term develops over time (often due to a posteriori input from the world which is unable to be anticipated in advance). This account provocatively undermines a certain distinction between “semantics” and “ontology” which is often taken for granted in discussions of realism. (shrink)

By portraying meaning as a phenomenon that eludes complete expression and arises spontaneously in our everyday embodied interactions with others and objects in the world, as well as in our own unconscious registering of those interactions, Woolf’s Mrs. Dalloway is uniquely insightful concerning both the presence of meaning in modern life and the modern conception of the self--phenomena marked by a certain ineradicable tension between that which is constituted by us and that which is given from outside us. This paper (...) examines this tension through the lens of Merleau-Ponty’s phenomenology, with special attention to the leitmotif of the «spontaneity of sense». Woolf and Merleau-Ponty both help to illustrate an important modern insight: that among the most meaningful experiences are those that are not only unexpected and unexplained, but in some sense foreign and unexplainable--mysterious events and yet everyday occurrences that explode the supposed privacy of our thought, and exceed our capacity for expression. (shrink)

The central thesis of this book is that we need to reform philosophy and join it to science to recreate a modern version of natural philosophy; we need to do this in the interests of rigour, intellectual honesty, and so that science may serve the best interests of humanity. Modern science began as natural philosophy. In the time of Newton, what we call science and philosophy today – the disparate endeavours – formed one mutually interacting, integrated endeavour of natural philosophy: (...) to improve our knowledge and understanding of the universe, and to improve our understanding of ourselves as a part of it. Profound discoveries were made, indeed one should say unprecedented discoveries. It was a time of quite astonishing intellectual excitement and achievement. And then natural philosophy died. It split into science on the one hand, and philosophy on the other. This happened during the 18th and 19th centuries, and the split is now built into our intellectual landscape. But the two fragments, science and philosophy, are defective shadows of the glorious unified endeavour of natural philosophy. Rigour, sheer intellectual good sense and decisive argument demand that we put the two together again, and rediscover the immense merits of the integrated enterprise of natural philosophy. This requires an intellectual revolution, with dramatic implications for how we understand our world, how we understand and do science, and how we understand and do philosophy. There are dramatic implications, too, for education. And it does not stop there. For, as I show in the final chapter, resurrected natural philosophy has dramatic, indeed revolutionary methodological implications for social science and the humanities, indeed for the whole academic enterprise. It means academic inquiry needs to be reorganized so that it comes to take, as its basic task, to seek and promote wisdom by rational means, wisdom being the capacity to realize what is of value in life, for oneself and others, thus including knowledge, technological know-how and understanding, but much else besides. The outcome is institutions of learning rationally designed and devoted to helping us tackle our immense global problems in increasingly cooperatively rational ways, thus helping us make progress towards a good world – or at least as good a world as possible. (shrink)

The phenomenon of sexbots has lately been receiving increasing academic attention. The forms and uses of this humanoid sexual technology with AI have been analyzed and discussed by philosophers, sexologists, ethicists, and legal experts. Ethical debates about possible designs and uses receive the most attention in academic discussions. Quantitative and qualitative studies on how people outside this context look at and think about sexbots are scarce. Especially research with the online context as a research site seems to be missing. However, (...) This research site can be fruitful to explore people's (moral) attitudes, arguments, and intuitions. An inductive thematic analysis of online discussions about sexbots was carried out on three different subreddits on Reddit. Three themes were constructed. Themes include the assumed role of sexbots as seen from incel ideology, reasonings on hypothetical experiences of using a sexbot, and the use and meaning of sexbots in a context of political and sexual identity. The language in the discussions indicated a dominant male heteronormative perspective. Although similar elements to the scholarly debate like the use of sexbots to channel sexual misconduct or making analogies between the believed effects of the use of sexbots and pornography occurred, differences to the debate occurred in the themes of the hypothetical tendency to use a sexbot, and the indications on how it could change our definitions of ‘having sex’. These elements point toward a research gap in the academic discourse. Finally, the themes were aligned with the feminist discussion on sexbots. Richardon’s call for a ban and Kubes’ queer reading of sexbots were linked to our analysis. Further research could include exploring multiple online research sites to complement or contrast the indicated male heteronormative perspective with other perspectives ( LGBTQAI+,...) on the phenomenon of sexbots. (shrink)

In this article the linguistic processes of consciousness are discussed at the informational and semantic levels. The key question is devoted to the distinction between the information, meaning and sense in the physical, logico-semantic and historic levels of brain and consciousness. The principal point runs that the human linguistic process of sense producing takes the variety and indistinctness in the cultural presupposition. The modern theories of philosophy of mind relying on the theories of Soviet psychological school propose some (...) new solutions in the pragmatic questions of the semantic noncomputability. In this review we will try to justify the dualistic correlation between the cultural base and the communicative semantic process. (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)

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)

The notions of information, representation and enaction entertain historical and complex relations with cognition. Historical relations because representational structures belong to the central hypothesis of cognitive sciences. Complex relations because cognitive sciences apply the notion of representation to animals, humans and robots, and also because the enactive approach tends to disregard the GOFAI type of representations. In this wide horizon of relations, we propose to look at a systemic approach that could bring up a common denominator for information and representations (...) in the build up of cognition, and also keep a link with the enactive approach. Our purpose is to show that systems submitted to constraints can generate meaningful information to maintain their natures, and consequently build up meaningful representations that have some compatibility with the enactive approach. Such a systemic approach to the notion of meaningful information could then make available a link between enaction and meaningful representations. The first part of the presentation is about reminding that cognition does not exist per se, but is related to the system that builds it. We look at cognition as constituted by dynamic meaningful representations built up by systems that have constraints to satisfy in their environments. Cognition is considered here at the level of the system that builds it and uses it in order to maintain its nature in its environment. Such a systemic approach fits with evolution. Organisms build representations to cope with survival constraints (frogs build representations of moving black dots in order to satisfy food constraints). Humans build representations and cognition to satisfy constraints that are conscious and unconscious. Artificial systems can use representations and cognition to run activities related to constraints implemented by the designers or coming from the environment (a goal to reach being considered as a constraint to satisfy). In the second part of the presentation we define what are a meaningful information and a representation for a system submitted to a constraint in its environment, and we link these to the enactive approach. We define a meaningful information (a meaning) as an information generated by a system submitted to a constraint when it receives an external information that has a connection with the constraint. The meaning is precisely that connection. The meaning belongs to the interactions that link the system to its environment. The function of the meaning is to participate to the determination of an action that will be implemented in order to satisfy the constraint. (Menant, 2003). The satisfaction of the constraint goes with maintaining the nature of the system in its environment. A Meaning Generator System (MGS) is defined correspondingly. It is a building block for higher level systems. We present some characteristics of the MGS (groundings of a meaning, domain of efficiency and transfer of meanings, networking of meanings, evolutionary usage). The MGS approach is close to a simplified version of the Peircean triadic theory of signs (Menant, 2003, 2005 ). We define the representation of an item for a system as being the dynamic set of meaningful information corresponding to the item for the system in its environments (an elementary representation being made of a single meaningful information). These representations link the system to its environment by their meaningful components related to the nature of the system. These representations are different from the GOFAI ones. The possibilities for linking these notions of meaning and representation with the enactive approach come from the structure of the MGS: the need for an action is the cause of the meaning generation by and for the system. The action on the environment is for the system to maintain its nature (its identity). The MGS links together the generation of meaningful representations, the nature of the system, and the interactions with the environment. This can be considered as close to enacting a world by meaning generation (Di Paolo and all 2007), and to the enactive concept of sense making (De Jaegher, Di Paolo 2007). We propose that basing the definition of a representation on the notion of meaningful information generated by a system submitted to a constraint can open a way for making the notion of representation compatible with the enactive approach. In the third part of the presentation, we consider some cases of meaningful information and representations for organisms and for robots. Regarding organisms, the MGS can be used in an evolutionary context by looking at the evolution of the systems and of the constraints. Purpose is to modelize the generation of meanings and of representations in order to make available a tool usable for different levels of evolution, as evolution has a place in cognitive sciences (Proust, 2007). Constraints for basic life are survival constraints (individual and species). Group life constraints are also to be considered. Reaching the level of humans in evolution brings in new constraints that cannot be clearly identified as they have to take into account human consciousness which is today a mystery (the “hard problem”). On an evolutionary standpoint, human constraints come in addition to the ones existing for non human organisms. We can make some hypothesis on the nature of human constraints (Maslow pyramid based constraints, anxiety limitation…). For robots, the MGS is initially based on the design of the robot. The meaning generated within a robot is initially derived from the constraints implemented by the designer and from the environment. But some non calculable or non predictable evolutions of the robot can introduce meanings that look proper to the robot. This last point can be linked to the notion of autonomy in robots. In such examples, the dynamic management of meanings thru the MGSs in their environments keeps the link with the enactive approach. We finish the presentation by summarising the points addressed and by proposing several continuations. (shrink)

What does Husserlian phenomenology have to offer feminist theory? More specifically, can we find resources within Husserl’s account of the living body ( Leib ) for the critical feminist project of rethinking embodiment beyond the dichotomies not only of mind/body but also of subject/object and activity/passivity? This essay begins by explicating the reasons for feminist hesitation with respect to Husserlian phenomenology. I then explore the resources that Husserl’s phenomenology of touch and his account of sensings hold for feminist theory. My (...) reading of Husserl proceeds by means of a comparison between his description of touch in Ideas II and Merleau-Ponty’s early appropriation of this account in the Phenomenology of Perception, as well as through an unlikely rapprochement between Husserl and Irigaray on the question of touch. Moreover, by revisiting the limitations in Husserl’s approach to the body—limitations of which any feminist appropriation must remain cognizant—I attempt to take Husserl’s phenomenology of touch beyond its initial methodologically solipsistic frame and to ask whether and how it can contribute to thinking gendered and racialized bodies. The phenomenology of touch, I argue, can allow us to understand the interplay between subjective, felt embodiment and social-historical context. In opening up Husserl’s account of touch to other dimensions—intersubjective and affective—sociality is revealed as residing within, and structuring of, touch. Such touch can allow us to think embodiment anew. (shrink)

What is the relation between meaning and use? This chapter first defends a non-reductionist understanding of Wittgenstein’s suggestion that ‘the meaning of a word is its use in the language’; facts about meaning cannot be reduced to, or explained in terms of, facts about use, characterized non-semantically. Nonetheless, it is contended, facts about meaning do supervene on non-semantic facts about use. That supervenience thesis is suggested by comments of Wittgenstein’s and is consistent with his view of meaning and rule-following. Semantic (...) supervenience is then defended against two criticisms: first, John McDowell’s suggestion that the supervenience thesis falsifies the epistemology of meaning and fails to accommodate common-sense truths about meaning; second, a series of counter-examples proposed by Stephen Kearns and Ofra Magidor, who argue that worlds may differ semantically without differing non-semantically. It is argued that neither criticism is convincing: we should accept the thesis that semantic facts supervene on non-semantic facts. (shrink)

This paper investigates the meaning of the neo-Confucian concept of 'li'. From early on, it has the sense of a pattern designating how things are and ought to be. But it takes on the appearance of something transcendent to the world only at a certain point in history, when it becomes juxtaposed to 'qi'. Zhu Xi has been criticized for this 'li-qi' dichotomization and the transcendentalization of 'li'. The paper re-examines this putative dualism and transcendentalism, looking into both Zhu's (...) discussions and pre- and post-Zhu discussions of 'li', and concludes it to be an inter-connective threading immanent to the world. (shrink)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

Semantic information is usually supposed to satisfy the veridicality thesis: p qualifies as semantic information only if p is true. However, what it means for semantic information to be true is often left implicit, with correspondentist interpretations representing the most popular, default option. The article develops an alternative approach, namely a correctness theory of truth (CTT) for semantic information. This is meant as a contribution not only to the philosophy of information but also to the philosophical debate on the nature (...) of truth. After the introduction, in Sect. 2, semantic information is shown to be translatable into propositional semantic information (i). In Sect. 3, i is polarised into a query (Q) and a result (R), qualified by a specific context, a level of abstraction and a purpose. This polarization is normalised in Sect. 4, where [Q + R] is transformed into a Boolean question and its relative yes/no answer [Q + A]. This completes the reduction of the truth of i to the correctness of A. In Sects. 5 and 6, it is argued that (1) A is the correct answer to Q if and only if (2) A correctly saturates Q by verifying and validating it (in the computer science’s sense of verification and validation ); that (2) is the case if and only if (3) [Q + A] generates an adequate model (m) of the relevant system (s) identified by Q; that (3) is the case if and only if (4) m is a proxy of s (in the computer science’s sense of proxy ) and (5) proximal access to m commutes with the distal access to s (in the category theory’s sense of commutation ); and that (5) is the case if and only if (6) reading/writing (accessing, in the computer science’s technical sense of the term) m enables one to read/write (access) s. Sect. 7 provides some further clarifications about CTT, in the light of semantic paradoxes. Section 8 draws a general conclusion about the nature of CTT as a theory for systems designers not just systems users. In the course of the article all technical expressions from computer science are explained. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (shrink)

In 2006, in a special issue of this journal, several authors explored what they called the dual nature of artefacts. The core idea is simple, but attractive: to make sense of an artefact, one needs to consider both its physical nature—its being a material object—and its intentional nature—its being an entity designed to further human ends and needs. The authors construe the intentional component quite narrowly, though: it just refers to the artefact’s function, its being a means to realize (...) a certain practical end. Although such strong focus on functions is quite natural , I argue in this paper that an artefact’s intentional nature is not exhausted by functional considerations. Many non-functional properties of artefacts—such as their marketability and ease of manufacture—testify to the intentions of their users/designers; and I show that if these sorts of considerations are included, one gets much more satisfactory explanations of artefacts, their design, and normativity.Keywords: Artefacts; Dual Nature program; Function; Intentionality; Normativity. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In the paper, original formal-logical conception of syntactic and semantic: intensional and extensional senses of expressions of any language L is outlined. Syntax and bi-level intensional and extensional semantics of language L are characterized categorically: in the spirit of some Husserl’s ideas of pure grammar, Leśniewski-Ajukiewicz’s theory syntactic/semantic categories and in accordance with Frege’s ontological canons, Bocheński’s famous motto—syntax mirrors ontology and some ideas of Suszko: language should be a linguistic scheme of ontological reality and simultaneously a tool of its (...) cognition. In the logical conception of language L, its expressions should satisfy some general conditions of language adequacy. The adequacy ensures their unambiguous syntactic and semantic senses and mutual, syntactic, and semantic compatibility, correspondence guaranteed by the acceptance of a postulate of categorial compatibility syntactic and semantic categories of expressions of L. From this postulate, three principles of compositionality follow: one syntactic and two semantic already known to Frege. They are treated as conditions of homomorphism partial algebra of L into algebraic models of L: syntactic, intensional, and extensional. In the paper, they are applied to some expressions with quantifiers. Language adequacy connected with the logical senses described in the logical conception of language L is, of course, an idealization, but only expressions with high degrees of precision of their senses, after due justification, may become theorems of science. (shrink)

This essay explores the intersection of racism, racial embodiment theory and the recent hostility aimed at immigrants and foreigners in the United States, especially the targeting of people of Latin American descent and Latino/as. Anti-immigrant and anti-foreigner sentiment is racist. It is the embodiment of racial privilege for those who wield it and the materiality of racial difference for those it is used against. This manifestation of racial privilege and difference rests upon a redrawing of the color line that is (...) meant towards preserving exclusive categories of political membership. The charge of racism, however, is elided by the fact that this hostility takes the form of a specious embracement of law and lawfulness. “Illegal” in this sense not only captures the actions of those who enter the United States through clandestine or informal means, but, in light of the history of immigration and citizen- ship law, the term operates as a racial trope that designates non-white status, thus marginalizing and alienating certain immigrants from ongoing nation-formation processes. I explain the source for anti-immigrant hostility in the United States, which I take to be connected to the longevity of white normativity as the basis for American identity. I then critically assess how the idea of national belonging is crucial to the perpetuation of white-ways-of-being, especially when citizenship has historically been a venue for the embodiment of racial and even colonial privilege. I conclude by posing several questions about the nature of racial identities and racism that suggest new avenues for further research on racial embodiment in a “postracial” era. pp. 65–90. (shrink)

For Bhartrhari, a fifth-century Indian grammarian-philosopher, all conscious beings—beasts, birds and humans—are capable of what he called pratibha, a flash of indescribable intuitive understanding such that one knows what the present object “means” and what to do with it. Such an understanding, if correct, amounts to a mode of knowing that may best be termed knowing-what, to distinguish it from both knowing-that and knowing-how. This paper attempts to expound Bhartrhari’s conception of pratibha in relation to the notions of meaning, understanding, (...) and knowing. First, I touch briefly on Bhartrhari’s views of consciousness and language, and examine at some length his indescribability thesis concerning the intuitive meaning of a sentence. Then, I delineate the general features of pratibha as intuitive understanding and discuss its probable range in relation to expert intuition and sense perception. Thereafter, I relate pratibha to the notion of knowing-what and show why these two notions are to be differentiated from knowing-that and knowing-how. The paper concludes with some remarks on the contemporary relevance of Bhartrhari’s conception of pratibha. (shrink)

The paper discusses an objection, put forward by - among others - John McDowell, to Kripke’s Wittgenstein’s non-factualist and relativist view of semantic discourse. The objection goes roughly as follows: while it is usually possible to be a relativist about a given domain of discourse without being a relativist about anything else, relativism about semantic discourse entails global relativism, which in turn entails subjective idealism, which we can reasonably assume to be false. The paper’s first section sketches Kripke’s Wittgenstein’s ideas (...) about semantic discourse and gives a fully explicit formulation of the objection. The second section describes and briefly discusses the formal apparatus needed to evaluate the objection - which is basically equivalent to John MacFarlane’s recent development of David Kaplan’s classic semantic framework. Finally, the third section explains in detail why the objection fails. I show that even though relativism about semantic discourse does entail a form of global relativism, the relativism in question does not entail anything like Berkeleyan or Fichtean idealism. This particular kind of relativism holds that which character (in Kaplan’s sense) is associated to a given utterance depends on what MacFarlane calls “the context of assessment”. (shrink)

Gravitation is interpreted to be an “ontomathematical” force or interaction rather than an only physical one. That approach restores Newton’s original design of universal gravitation in the framework of “The Mathematical Principles of Natural Philosophy”, which allows for Einstein’s special and general relativity to be also reinterpreted ontomathematically. The entanglement theory of quantum gravitation is inherently involved also ontomathematically by virtue of the consideration of the qubit Hilbert space after entanglement as the Fourier counterpart of pseudo-Riemannian space. Gravitation can be (...) also interpreted as purely mathematical or logical “force” or “interaction” as a corollary from its ontomathematical (rather than physical) realization. The ontomathematical approach to gravitation is implicit in general relativity equating it to operators in pseudo-Riemannian space obeying the Einstein field equation and also well-known by the “geometrization of physics”. Quantum mechanics shares the same by the separable complex Hilbert space and defining “physical quantity” by the Hermitian operators on it. One can interpret special Minkowski space involved by special relativity and the qubit Hilbert space of quantum information as Fourier counterparts immediately noticing that general relativity means gravitation as the Fourier counterpart of non-Hermitian operators implying non-unitarity and the violation of energy conservation and thus destroying Pauli’s particle paradigm. Since the Standard model obeys it, this explains the impossibility of “quantum gravitation” in any framework conservatively generalizing the Standard model so that it would include gravitation along with electromagnetic, weak, and strong interactions. Einstein’s geometrization of gravitation can be continued into a purely mathematical theory of it following Euclid’s realization for geometry to be exhaustively built in a deductive and axiomatic way as well as Riemann’s parametrization of all the class of Euclidean and non-Euclidean geometries by “space curvature”, then being generalized to Minkowski space as the operators on pseudo-Riemannian space as the Einstein field equation means gravitation. The transition from mathematical gravitation to logical one can rely on the historical lesson of the pair of Lobachevski’s and Riemann’s approaches now “reversely”, i.e., from the latter to the former. Logical gravitation is linkable to Hegel’s dialectical logic and ontological dialectics abandoning their interpretations as a new zero logic substituting classical propionyl logic. The approach of ontomathematics generalizing that of ontology, traceable even to Aristotle’s reformation of Plato’s doctrine, needs Hegel’s doctrine to be formalized as a first-order logic naturally containing Boolean algebra, isomorphic to both classical propositional logic and set theory being the class of all first-order logics, as a sub-logic along with Peano arithmetic as another sub-logic. The first-order logic at issue is called Hilbert arithmetic and elaborated in detail in other papers. It allows for both self-foundation of mathematics to be internally proved as complete and furthermore, quantum mechanics reinterpreted as quantum information to be included by the qubit Hilbert space interpretable in turn as a dual and physical counterpart of Hilbert arithmetic in a narrow sense, that is, both counterparts constitute Hilbert arithmetic in a wide sense, being mathematical and physical simultaneously and thus overcoming the Cartesian dualism of “body” gapped from “mind” by an abyss. Then, the proper philosophical interpretation of gravitation to be the fundamental ontomathematical force or interaction overcomes the ridiculous belief of the Big Bang wrongly alleged to be a scientific theory. Ontomathematical gravitation suggests an omnipresent and omnitemporal medium of “God’s” creation “ex nihilo” following only the natural necessity of quantum-information conservation particularly and locally manifested as energy conservation. (shrink)

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

In some ways that have been largely ignored, ethnic-group names might be similar to names of other kinds. If they are, for instance, analogous to proper names, then a correct semantic account of the latter could throw some light on how the meaning of ethnic-group names should be construed. Of course, proper names, together with definite descriptions, belong to the class of singular terms, and an influential view on the semantics of such terms was developed, at the turn of the (...) nineteenth century, from discussion of a puzzle about some differences in the cognitive value of certain statements of identity. Clearly, that a = a (e.g., that Mark Twain was Mark Twain) is trivial, and its truth could be known a priori, just by thinking. On the other hand, that a = b (e.g., that Mark Twain was Samuel Clemens) is of course informative and knowable only by empirical investigation. To solve this puzzle, Frege famously proposed that those variations in the cognitive value of statements of identity “can arise only if the difference between the signs corresponds to a difference in the mode of presentation of that which is designated.” On his view, although in the above statements of identity, the singular terms, ‘a,’ and, ‘b,’ may designate the same thing, they do so with different senses, or under different modes of presentation of that object. When the puzzling statements involving ‘a’ and ‘b’ are true, they may then be said to have exactly the same reference. But since those singular terms pick out the object of reference differently (i.e., under different senses or modes of presentation), therefore the cognitive value of these statements also varies significantly. On this account, then, the reference of a non-vacuous proper name is secured by the name’s sense, or mode of presentation, which constitutes its semantic content. And given that Fregeans (here under the influence of Russell) cash out that sense as consisting in whatever concept (or cluster of concepts) could be uniquely associated with that name, they might hold, for example, that the property of being the author of Huckleberry Finn, and that of being an American who lived his early life in Hannibal, Missouri, and later became a famous writer, amount to the senses of ‘Mark Twain,’ and ‘Samuel Clemens,’ respectively.. (shrink)

Standard approaches to proper names, based on Kripke's views, hold that the semantic values of expressions are (set-theoretic) functions from possible worlds to extensions and that names are rigid designators, i.e.\ that their values are \emph{constant} functions from worlds to entities. The difficulties with these approaches are well-known and in this paper we develop an alternative. Based on earlier work on a higher order logic that is \emph{truly intensional} in the sense that it does not validate the axiom scheme (...) of Extensionality, we develop a simple theory of names in which Kripke's intuitions concerning rigidity are accounted for, but the more unpalatable consequences of standard implementations of his theory are avoided. The logic uses Frege's distinction between sense and reference and while it accepts the rigidity of names it rejects the view that names have direct reference. Names have constant denotations across possible worlds, but the semantic value of a name is not determined by its denotation. (shrink)

This text is part of an on going research. It deals with the relationship between the production and experience of the places on the edge of the Trans-Amazon Highway (BR 230), which cuts the North and a Northeast portion in the East-West direction. Considering its programmatic sense of occupation of the territory, as opposed to the explanation already accepted, which expresses the road as an engineering system, therefore, means to flow, is that I propose to think the road as (...) an everyday living space, emphasizing the educational dimension to understand the existence of places. My purpose is to analyze the spatial imagination underlying the external understanding to the Trans-Amazon, in the educational plan, regarding the unique geographicity produced by local groups living near the road. Methodologically, I seek a dialogue between a phenomenological design and the existentialism, developing field of research procedures, literature review that supports the concepts of spatial imaginations, place and field education, critical reading of official documents in the MEC sites imagery record in dialogue with the representation of those that live on the edge of “Strip”. As an indication of preliminary findings point out: 1. The denial of places as a geopolitical strategy which is materialized in the educational process and planning politics; 2. The inescapable geographicity of groups that self recognize and are related contradictorily to the Trans-Amazon Highway; 3. The Countryside Education as opening or denial of the place, both for those who live it, and for those who do not live it, which can be ignorance widespread factor in terms of knowledge of the Amazon spatiality or coping and creation of a new geographic and cartographic knowledge about the places cut by “Strip”. (shrink)

Meaning-making plays a central role in how we deal with experiences of suffering, including those due to mental disorder. And for many, religious beliefs, experiences, and practices (hereafter, religious engagement) play a central role in informing this meaning-making. However, a crucial facet of the relationship between experiences of mental disorder and religious engagement remains underexplored—namely the potentially positive effects of mental disorder on religious engagement (e.g. experiences of bipolar disorder increasing sense of God’s presence). In what follows, I will (...) present empirical findings from two recent studies of mine which shed light on the extent to which participants experienced these positive effects, specific components of these effects, and how they fit into their understanding of their mental disorder and its relationship to their religious identity. In doing so, I will draw on and expand Tasia Scrutton’s Potentially Transformative view (2015a, 2015b, 2020) according to which mental disorders may provide opportunities for spiritual growth. My empirical results align with and help deepen an account according to which mental disorders are potentially spiritually transformative by providing further insight into such instances: specifically, which symptoms and internal and external factors are often involved, as well as which religious beliefs, experiences, and/or practices are often affected. After presenting these results and articulating their relevance for a potentially transformative view of mental disorder, I will then address some potential objections to the theoretical account as well as some limitations of the empirical work, before sketching possible promising directions for future research. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

The current paper expands on previous work done on the influence of learners’ language and preexisting knowledge on understanding physics terminology by exploring the concept of ACCELERATION in Arabic and English. The study attempts to answer two questions: (1) what are the similarities and differences between the polysemy of Arabic تَسَارُع (tasāruʿ) (acceleration) and the polysemy of English acceleration, and (2) to what extent do prototypes and factors motivating the conceptualization of تَسَارُع (tasāruʿ) and the conceptualization of acceleration converge or (...) diverge? To this end, Arabic and English dictionaries and corpora, the ArabiCorpus (Arabic Corpus Search Tool) and the British National Corpus (BNC), were employed. The dictionaries were surveyed to explore the various meanings of تَسَارُع (tasāruʿ) and acceleration, while the ArabiCorpus and the BNC were employed to investigate the senses and to identify the most frequent collocates and so the prototypes of these terms. The meaning extension of the terms is examined on the basis of the cognitive mechanisms which appear in the corpora. Theoretically, the paper is informed by the prototype theory (Rosch, 1973; 1975), image schemas (Johnson, 1987), and conceptual metaphor (Lakoff & Johnson, 1980/2003). The results show that تَسَارُع (tasāruʿ) (acceleration) and acceleration generally overlap in terms of polysemy, prototype, and images schemas as well as conceptual metaphor that organize the conceptualization of these terms. It was also found that both Arab and English speakers mix ACCELERATION up with SPEED and so misunderstand them in a scientific setting. The present findings have several implications for science curriculum design, education, and research on universal and culture-specific properties of language. (shrink)

The hermeneutic pragmatism explored in this article timely examines how “post-truth” claims over-estimate semantic freedoms while at the same time underestimating semantic and pre-semantic restraints. Such pragmatism also timely examines how formalists err by committing the reverse errors. Drawing on insights from James, Peirce, Putnam, Rorty, Gadamer, Derrida, and others, such hermeneutic pragmatism explores (1) the necessary role of both internal and objective experience in meaning, (2) the resulting instrumental nature of concepts required to deal with such experience, (3) the (...) related need for workability to apply to the “the collectivity of experience’s demands, nothing being omitted,” (4) the inherent role of morality and other norms in measuring such workability, (5) the semantic as well as experiential nature of our workable realities, (6) the semantic freedoms involved in constructing, framing, and retaining our workable realities and concepts, and (7) the semantic, pre-semantic, and other restraints on constructing, framing, and retaining our workable realities and concepts. -/- Such hermeneutic pragmatism also introduces Eunomia, a real-world alternative to Dworkin’s superhuman judge Hercules. Named after the Greek goddess of good order, the human Eunomia represents the reasonable judge excellently versed in (among other things) legal theory, legal practice, linguistics, and philosophy of language. Additionally, in its appendices, this article surveys the pragmatic restraints of “implementives” and provides a detailed overview of pragmatic “workability” restraints for both law and fact. -/- (By “sense” the title of this article means not only “meaning conveyed or intended” but also “capacity for effective application of the powers of the mind as a basis for action or response.” See Sense, MERRIAM-WEBSTER’S COLLEGIATE DICTIONARY (11th ed. 2014) “Workable” has the broad meaning discussed in Sections II, IV, and Appendix C of the Article, and "good" is further explored in the section on Eunomia, namesake of the Greek goddess of good order.) -/- Keywords: Pragmatism, Hermeneutic, Truth, Rule of Law, William James, C.S. Peirce, Hilary Putnam, Richard Rorty, Gadamer, Habermas, Derrida, Lon Fuller, H.L.A. Hart, Post-truth, Postmodernism, Trump, Rhetoric, Meaning, Interpretation, Metaphor, Category, Lifeworld, Formalism, Framing, Deconstruction. (shrink)

The aim of this paper is to present an interpretation of Shepherd’s account of our most fundamental cognitive powers, most especially the faculty that Shepherd calls perception, which she claims is a unity of contributions from the understanding and the senses. I find that Shepherd is what we would nowadays call a meaning holist: she holds that the meaning of any natural-kind term is constituted by its place in a system of definitions, which system specifies the causal roles of the (...) objects its terms name. Such an account of meaning raises questions about the contact that such a system of definitions, or conceptual scheme, makes with the world. The natural place to seek answers to these questions is in Shepherd’s account of perception, which I argue Shepherd takes to be our most fundamental cognitive faculty. Our cognitive lives begin with perceptions, representations of objects as the cause of those very perceptions of them. With this interpretation in hand, I draw a contrast between it and Boyle’s and Lolordo’s recent work on Shepherd’s theory of meaning. I argue that for Shepherd truths about the causal powers of objects are analytic, and that the relevant empirical questions answered by science concern whether our conceptual scheme accurately represents the world. Finally, I provide additional support for this interpretation by showing that it comports with Shepherd’s criticism of her philosophical opponents, Berkeley, Hume, and Reid. (shrink)

Kevin Lynch's books are the classic underpinnings of modern urban planning and design, yet they are only a part of his rich legacy of ideas about human purposes and values in built form. City Sense and City Design brings together Lynch's remaining work, including professional design and planning projects that show how he translated many of his ideas and theories into practice. An invaluable sourcebook of design knowledge, City Sense and City Design completes the record of one of (...) the foremost environmental design theorists of our time and leads to a deeper understanding of his distinctively humanistic philosophy. The editors, both former students of Lynch, provide a cogent summary of his career and of the role he played in shaping and transforming the American urban design profession during the 1950s, the 1960s, and the 1970s. Each of the seven thematic groupings of writings and projects that follow begins with a short introduction explaining their content and their background. The essays in part I focus on the premises of Lynch's work: his novel reading of large-scale built environments and the notion that the design of an urban landscape should be as meaningful and intimate as the natural landscape. In part II, excerpts from Lynch's travel journals reveal his early ideas on how people perceive and interpret their surroundings—ideas that culminated in his seminal work, The Image of the City. This part of the book also presents Lynch's experiments with children and his assessment of environmental-perception research. The examples of both small-scale and large-scale analysis of visual form in part III are followed by three parts on city design. These include Lynch's more theoretical works on complex planning decisions involving both functional (spatial and structural organization) and normative (how the city works in human terms) approaches, articles discussing the principles that guided Lynch's teaching and practice of city design, and descriptions of Lynch's own projects in the Boston area and elsewhere. The book concludes with essays written late in Lynch's career, fantasy pieces describing utopias and offering new design freedoms and scenarios warning of horrifying "cacotopias.". (shrink)

Wind power control technology is an important part of intelligent control in wind farms. By the automatic calculation and implementation of control strategy, problems such as imprecise of manual control scheduling, slow adjust rate, heavy workload, etc. have been solved. It can improve the capacity of wind power grid, and it also has the important meaning to the safe and stable operation of power grid. This paper introduces wind power control system from certain aspects such as control mode, control principle, (...) and so on. (shrink)

Johnston maintains that the notion of a proposition -- ”a language independent (abstract) particular” -- can be dispensed with in philosophical semantics and replaced with that of a propositional act. A propositional act is a component of a speech act that is responsible for the propositional content of the speech act. Traditionally, it is thought that a propositional act yields the propositional content of a speech act by being an act of expressing a proposition. And it is the expressed proposition (...) that serves as the propositional content of the speech act. Johnston points out, however, that a propositional act is a structured event consisting minimally of a referential act, a predicative act, and a time-designative act. And on Johnston's view, the propositional content is the structured propositional act itself. (Strictly speaking, Johnston analyzes sameness of propositional content in terms of sameness of propositional act type, from which I, perhaps rashly, inferred that the propositional content of a speech act should be taken to be the propositional act itself). Johnston argues that a semantic analysis in terms of propositional acts enables us to reconcile the necessity of both, (1) Hesperus is Phosphorus (2) Phosphorus is Phosphorus with their intuitive difference in meaning, while maintaining the direct reference theory of proper names. Moreover, he argues that invoking propositional acts rather than propositions has the advantage of being able to capture the various senses in which distinct statements might be said to "say the same thing", as well as that of ontological parsimony. I will address each of these claims in turn, but first, I want to point out that the propositionalist can easily reconcile the necessity of (1) and (2) with their intuitive difference in meaning, without forsaking direct reference. All one needs to do is invoke the Fregean idea that there is a meaning shift in “thatâ€-clauses of (opaque) indirect discourse (and other) ascriptions.. (shrink)

The folk Psychology frames propositional attitudes as fundamental theoretical entities for the construction of a model designed to predict the behavior of a subject. A trivial, such as grasping a pen and writing reveals - something complex - about the behavior. When I take a pen and start writing I do, trivially, because I believe that a certain object in front of me is a pen and who performs a specific function that is, in fact, that of writing. When I (...) believe that the object that stands before me is a pen, I am in relation to "believe" with the propositional content: that in front of me is a pen. Philosophers of the proposition, from Frege onwards, have dedicated their studies to the analysis of what kinds of entities are the propositional attitudes. Jerry Fodor says that now, the proper prediction of the psychology of common sense, can not be questioned and that the propositional attitudes represent the most effective way to describe our behavior. What Fodor says, however, is that propositional attitudes function, but not how they work. Most philosophers interested in the issue, we are dedicated to the search for a theory that can account consistently both a semantics for propositional attitudes, both of these entities that seem to cause the behavior of a rational subject. There are two main paradigms in the theory of the proposition that contributed to the discussion of the propositional attitudes. One is the one that begins with Gottlob Frege, the other with Bertrand Russell. Defenders of Frege argue that the paradigm scrub objects and properties can not be constituents of the propositional content which have a purely conceptual. In other words, the philosophers belonging to the paradigm of Frege, but not all, mean that you can test in a rigorous way the truth conditions of propositional attitudes. Who defends the russellian’s paradigm argues that the propositional content are made by the objects and properties on which propositional attitudes relate. The purpose of this article is not to rebuild - in detail - both paradigms, nor to reconstruct one but, in a sense, my work will be a completely partial objective is to demonstrate how the paradigm is more profitable russell not only to make a coherent semantic theory for propositional attitudes2 but also to predict the behavior of a rational subject thing, completely innovative, given the repeated objections in contemporary literature3. At the end of this paper will be drafted a proposal to build a consistent model to predict the behavior,of a rational agent, based on a referential theory of propositional attitudes. (shrink)

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. The 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 Bernard 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 Jacques 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 Peter 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 Impossibile 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. 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)

This paper discusses some relations between the notion of Fregean sense and the notion of linguistic meaning. It argues that these notions come apart from one another even in the case of non-indexical expressions. In particular, synonymous non-indexical expressions may be assigned different Fregean senses with respect to certain contexts of use.

Frege’s distinction between force and sense is a central pillar of modern thinking about meaning. This is the idea that a self-standing utterance of a sentence S can be divided into two components. One is the proposition P that S’s linguistic meaning and context associates with it. The other is S’s illocutionary force. The force/sense distinction is associated with another thesis, the embedding principle, that implies that the only content that embeds in compound sentences is propositional content. We (...) argue that both the Force/Sense distinction and the principle of embedding are seriously challenged by figurative language, and irony in particular. We conclude that theorists need to go back to the drawing board about the nature of illocutionary acts. (shrink)

When “Sinning Against Frege” was published in 1979 I thought it should have given a real turn in the discussion on Frege’s ideas. Actually the impact was less then I imagined, and the problem was that – at the end of the story – Tyler Burge’s interpretation should have posed a shadow on the direct reference theories and the Millean criticism of descriptivist theories of proper names, based on the criticism of the identification of Frege’s notion of sense with (...) linguistic meaning or connotation1. In fact Burge (1979) claims that the identification of Frege’s notion of sense with the notion of linguistic meaning is a «basic misunderstanding» of Frege’s work2. This claim implies that Fregean senses are not like Mill’s connotations; therefore many direct-reference criticisms against Frege, which are grounded on Mill’s claims that proper names have no connotation, lose their efficacy. Burge, in giving specifications3, apparently accepts at least the idea that sense is an aspect of meaning, in particular «the aspect of meaning relevant to fixing the truth value of sentences». This feature is the “harmless” part of the assimilation of sense and linguistic meaning; but this assimilation becomes dangerous when context dependence is concerned. Revisiting Burge (1979), after more than two decades of debate on indexicals, may help to better understand the originality and the limitation of his claims. (shrink)

The paper addresses the phenomenology of inference. It proposes that the conscious character of conscious inferences is partly constituted by a sense of meaning; specifically, a sense of what Grice called ‘natural meaning’. In consciously drawing the (outright, categorical) conclusion that Q from a presumed fact that P, one senses the presumed fact that P as meaning that Q, where ‘meaning that’ expresses natural meaning. This sense of natural meaning is phenomenologically analogous, I suggest, to our (...) class='Hi'>sense of what is said in fluently comprehending everyday utterances in our first language. The proposal that conscious inference involves a sense of natural meaning is compared with views according to which conscious inference involves taking the premises (i) to be good reasons for the conclusion (as defended by Thomson and Grice), (ii) to support it (as argued by Audi and, recently, Boghossian), or (iii) to imply it (as lately contended by Broome). I argue our proposal can explain certain phenomena handled by alternatives (i) and (ii), but that some further phenomena is handled by our account but not these alternatives. In relation to alternative (iii), I argue that, in so far as implicational and natural-meaning relations come apart, the latter are a better fit for what we sense or take to be so in conscious inference. (shrink)

Cartoon is a journalistic genre that is presented in simple, sort and catchy formats, which appeal to human sense and consequently allows for quick reception of the messages being communicated. Adejuwon & Alimi in Bello (2022) argued that cartoons serve as medium through which people are informed, educated, and entertained by presenting societal happenings in a hilarious manner. According to Bello, editorial cartoons are designed to satirise current political issues, and offer subtle criticism cleverly coated with humour and satire. (...) Cartoons amuse, yet they are veritable means of exposing social ills and strategic way of conveying messages of deep meaning magnitude. (shrink)

I argue that Husserl’s transcendental account of the role of the lived body in sense-making is a precursor to Alva Noë’s recent work on the enactive, embodied mind, specifically his notion of “sensorimotor knowledge” as a form of embodied sense-making that avoids representationalism and intellectualism. Derrida’s deconstructive account of meaning—developed largely through a critique of Husserl—relies on the claim that meaning is structured through the complication of the “interiority” of consciousness by an “outside,” and thus might be thought (...) to lend itself to theories of mind such as Noë’s that emphasize the ways in which sense-making occurs outside the head. But while Derrida’s notion of “contamination” rightly points to an indeterminateness of meaning in an outside, extended, concrete lived world, he ultimately reduces meaning to a structure of signification. This casts indeterminateness in terms of absence, ignoring the presence of non-linguistic phenomena of embodied sense-making central to both the contemporary enactivist program and to the later Husserl, who is able to account for the indeterminateness of meaning in lived experience through his distinction between sense and more exact linguistic meaning. Husserl’s transcendental theory of meaning also allows for a substantive contribution to sense-making from the side of the perceived object—an aspect missing from Noë’s account. Thus, in contrast to Derrida and to Noë, Husserl accounts for sense-making in terms of both the lived body and the lived world. (shrink)

In this paper I apply a well known tension between cognitive and semantic aspects in Frege’s notion of sense to his treatment of indexicals. I first discusses Burge’s attack against the identification of sense and meaning, and Kripke’s answer supporting such identification. After showing different problems for both interpreters, the author claims that the tension in Frege’s conception of sense (semantic and cognitive) accounts for some shortcomings of both views, and that considering the tension helps in understanding (...) apparently contradictory Fregean claims about sameness of sense of sentences with indexicals. I conclude that the Fregean notion of sense, also in its cognitive aspect, cannot be reduced to linguistic meaning, and that the Fregean tension between two notions of sense may also explain the discussion Frege gives on the indexical “I”, proposing to develop a picture of indexicals as hidden complex demonstratives, as originally suggested by Burge. (shrink)

What is the research for in the society? We may imagine the professionals engaged in these activities, shall we say, university professors, researchers in the public and private institutions, and even the lay inventors at home or in the neighborhood. The research is related with some of knowledge or ideas, which, however, should be creative and original. It is the main function of those professionals, and can develop in dissemination of the findings produced by research. It frontiers the knowledge of (...) humans which enables a better view of world and generates the public welfare. The scholars are often those professionals who are required or in some cases, squeezed to produce an original contribution to the specific field of academy. As the society develops, we now require a scientific knowledge beyond the plain understanding of the nature and society. The scientific knowledge is qualified of some elements, i.e., evidence-based, universal frame to be applied, sense of understanding, pragmatic in comprehension or application, more persuasion on theory, paradigm, typologies, intersubjectivity, empirical relevance and so. It informs a philosophy of humans, makes them conscientious and knowledgeable, as well as enhances a professional performance for not only their field but also other disciplines. For example, the criminal justice system borrows the idea or information confirmed by other disciplines, psychology and sociology notably. What is the Durham rule in the excuse of culpability? The scope of rule could not enjoy a persuasion if not to be supported by the works of psychologists. The scientific knowledge perhaps could recourse its most salient dynamism in coupling with an economic exploitation. A cultivation of knowledge to serve the economic use and its industrialization reveals it’s competitive edge in the society. The kind of concepts, information age, e-technology, and intellectual property rights are leading the present time of narrative as we see routinely. May new laws, and new concept of e-education or e-government, GMO products as well as the travel of universe in the near future also follow that the updated profile of scientific knowledge on the engineering and natural science contributed to expand our horizon of subsistence. (shrink)

Betrayal is both a “people” problem and a philosopher’s problem. Philosophers should be able to clarify the concept of betrayal, compare and contrast it with other moral concepts, and critically assess betrayal situations. At the practical level people should be able to make honest sense of betrayal and also to temper its consequences: to handle it, not be assaulted by it. What we need is a conceptually clear account of betrayal that differentiates between genuine and merely perceived betrayal, and (...) which also provides systematic guidance for the assessment of alleged betrayal in real life. In what follows I offer an account of betrayal that attempts to meet the two requirements of conceptual clarity and contextual adequacy. There is a great temptation to use the events in Washington of the past few years as the case study for such an analysis, but I believe that, for a variety of reasons, including the difficulty of viewing events from “within,” this would only complicate matters rather than clarify them. Rather, I believe that betrayal in literature is fruitful ground for analysis. I have chosen Jane Austen’s Sense and Sensibility for examples of trust and betrayal, because Austen displays the needed complexity and subtlety of human relationships and because she recognizes that violations of trust come in a variety of shades and colors. This particular novel, moreover, not only supplies multiple instances of trusting relationships gone awry, but also a common, detailed, and intelligible landscape within which these relationships exist. Again, however, in order to illuminate betrayal and appropriately assess a purported betrayal, rich examples are not enough. We need a clear concept of betrayal. I will develop this concept by beginning with the related concept of trust. By starting with an explicit definition of trust and using this definition to analyze the various examples Austen provides, betrayal will emerge as but one of two types of violation of trust. This in turn will allow us to distinguish actual from merely “felt” betrayals. I will finally argue that understanding and being sensitive to the other form of violation of trust, which I call abandonment, may be even more significant to our moral life. (shrink)

Some people willingly risk or give up their lives for something they deeply believe in, for instance standing up to a dictator. A good example of this are members of the White Rose student resistance group, who rebelled against the Nazi regime and paid for it with their lives. I argue that when the cause is good, such risky activities (and even deaths themselves) can contribute to meaning in life in its different forms – meaning-as-mattering, meaning-as-purpose, and meaning-as-intelligibility. Such cases (...) highlight the importance of integrity, or living up to one’s commitments, in meaningful living, or dying, as it may be, as well as the risk involved in commitment, since if you die for a bad cause, you have only harmed yourself. However, if leading a more rather than less meaningful life benefits rather than harms you, there are possible scenarios in which you yourself are better off dying for a good cause than living a longer moderately happy life. This presents a version of a well-known puzzle: what, then, makes dying for a cause a self-sacrifice, as it usually seems to be? I sketch some possible answers, and try to make sense of relevant work in empirical psychology. (shrink)