Filosofische analyse van het zelfconcept van de Zwitsers-Franse architect (1887-1965), herwaardering van zijn motieven als stadsplanoloog en nieuwe inzichten met betrekking tot zijn intellectuele relaties met andere leden van de avantgarde van de twintigste eeuw.

Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier a pourtant frayé avec à peu près tous les pouvoirs, apparemment sans témoigner de préférences politiques, d’une manière qui semble contradictoire avec ses propres objectifs. À travers une série de paradoxes, nous cherchons à montrer que l’attitude politique de Le Corbusier ne doit pas simplement être référée (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

Les rapports entretenus par Le Corbusier, architecte le plus emblématique de la modernité, avec le pouvoir politique sont foncièrement ambivalents. Promoteur inlassable du bonheur pour tous à travers l’architecture, Le Corbusier a pourtant frayé avec à peu près tous les pouvoirs, apparemment sans témoigner de préférences politiques, d’une manière qui semble contradictoire avec ses propres objectifs. À travers une série de paradoxes, nous cherchons à montrer que l’attitude politique de Le Corbusier ne doit pas simplement être référée (...) à un ensemble d’arguments factuels et historiques, voire à une forme d’opportunisme consubstantiel à l’architecte en recherche de commandes, mais également à une certaine conception théorique et philosophique de la nature du pouvoir lui-même. Le pouvoir, conçu de manière purement formelle et extrêmement individualiste, n’est jamais pensé autrement que comme simple moyen ou cause efficiente visant à mettre en action la seule révolution valable pour Le Corbusier, à savoir la transformation de la culture par l’architecture. Se dessine ainsi la figure d’une pensée profonde des pouvoirs de l’architecture, en même temps que d’une singulière absence d’intelligence du politique. (shrink)

In 1949, the photographer Lucien Hervé took a picture of an innovative apartment building in Marseille, France, and sent it to the building's architect, Le Corbusier. Le Corbusier responded by asking Hervé to become his official photographer. This book recounts the creative collaboration between these two groundbreaking Modernists. The author takes the reader on a tour of sixteen of Le Corbusier's most iconic buildings using Hervé's edited sheets of contact prints as visual guides. These sheets, which became (...) an effective tool in the collaborative dissemination of Le Corbusier's work, capture Hervé's dynamic perspectives and dramatic use of light. His sequencing of the individual prints creates an exhilarating rhythm that powerfully showcases the architect's novel forms and materials. (shrink)

. Repetition and Difference: Lefebvre, Le Corbusier and Modernity's moral Landscape: A Commentary. Ethics, Place & Environment: Vol. 5, No. 2, pp. 135-144.

The paper gives an analysis of the conception of rationality of two influential representatives of the 20th century theory of urbanism, and their philosophical grounds. It also outlines the problem of modern rationality, questions its character and points out, that for the time being the transition to a new way of thinking is problematic.

If, as Lefebvre argues, every society produces its own social space, then modernity might be characterized by that (anti-)social and instrumental space epitomized and idealized in Le Corbusier's writings. This repetitively patterned space consumes and regulates the differences between places and people; it encapsulates a normalizing morality that seeks to reduce all differences to an economic order of the Same. Lefebvre's dialectical conceptualization of 'difference' can both help explain the operation of this (im)moral landscape and offer the possibility of (...) alternative post-modern social spaces that might produce and respect Otherness. In this sense Lefebvre's work is an incipient 'difference ethics'. (shrink)

Le Corbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, Le Corbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.

Le Corbusier's visionary or realistic urban plans are accompanied by various experimental ways of presentation, all designed to involve the public and political authorities through spectacular installations that play on the dimension of illusionism. In his quest to present his urbanistic ideas, Le Corbusier uses dioramas, photographs and film projections. The aim of his staging is to modify the conventional vision of reality with a systematic bombardment of spectacular images.

In lieu of an abstract, here is a brief excerpt of the content:Aviation and the Aerial View:Le Corbusier's Spatial Transformations in the 1930s and 1940sM. Christine Boyer (bio)Part One: The Aerial ViewAviation and Equipment. A London publishing house, The Studio, Ltd, sent Le Corbusier a letter in January 1935, inquiring whether he would be interested in collaborating on a new series of books to be titled The New Vision. The promoters explained that each book in the series would (...) be devoted to a unique event in industrial design, with specific attention paid to the designers, their aims, and the potential these designs held for social and human development. They would begin the series with a volume on the airplane. Le Corbusier was asked to write an introductory essay, supply captions for the images they had already collected, and offer a few suggestions for additional illustrations.1Accepting the invitation, Le Corbusier in his reply, however, transformed the project: instead of the word "airplane" he preferred "aviation," by which he meant all the prodigious phenomena opening vast new horizons in space and influencing the future of "equipment" in the broadest sense of the word.2 Already in Precisions (1930) he had written, "I replace the word 'urbanism' by the term 'equipment.' I have already replaced the term 'furniture' by that of 'equipment.' Such stubbornness shows well that we are purely and simply claiming tools for work, for we do not want to die of hunger facing the embroidered flowerbeds of aesthetic urbanism" [143]. To his bag of equipment, Le Corbusier now adds "aviation," a tool of modern communication forging new modes of exchange and new links between nations.3The material subsequently sent by the publishing house to Le Corbusier also met with lukewarm reception: he favored more lively documentation such as the view from an airplane as it flew over cities—vast open terrain, the sea, and the forests. And he wanted more picturesque treatment of the lives of aviators, their psychological and social attitudes including analysis of the great aerial routes being drawn between Europe and America, Africa, or Asia. The publishing house was unable to fulfill Le Corbusier's [End Page 93] expectations, reminding him that their focus was limited to "the airplane" and that they expected to receive all his material by May.4What did Le Corbusier mean by "aviation" and the "epic of the air," a phrase he used in the preface of the subsequent book Aircraft (1935)? What new horizons did aviation open and how did this affect the perception of space and the process of reading the terrain as a two-dimensional map or a plan? And what did aviation have to do with "equipment"? Just the year before Le Corbusier had seen the Exposition de l'Aéronautique in Milan for which Mussolini offered the maxim: "Aviation is grand, small, or nothing at all, depending on whether public awareness of aviation is grand, small, or nothing at all."5 Le Corbusier, ever the great publicist, accepted the challenge to spread the meaning of "aviation" in the inclusive sense of the word entailing adventure and service, organization, and machinery.The rapid growth of aviation during the interwar period was mercurial, dramatically reshaping perception of the world and of space. There were daring flights of aviators challenging the breath of oceans and deserts, the heights of Everest, the length of Africa, the uncharted terrain of the North and South Poles. The airplane not only internationalized cartography; it was a tool for exploring and controlling the colonies. While aerial photography, which recorded in precise detail the realistic shape of landmasses, coastlines, seas, deserts, and mountains, perfected the process of mapmaking and enriched the documentary archive of the planet.Yet even more stunning, aviation continually shrunk the size of the globe after the initial KLM flight between Amsterdam and Jakarta took off in 1924. Then the time needed to navigate the 9000 miles was 55 days; within five years it had been reduced to a mere 12 days. A world map criss-crossed with national air routes came into view. In the 1930s civil airlines began to offer passenger and mail service between London and the Middle East, then on to India and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti (...) wrote of the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

A boat is a floating piece of space, a place without place, which lives by itself, which is closed in on itself and that is at the same time exposed to the infinity of the sea. Nowadays one cannot conceive a utopia that does not address itself to nomads, peoples and individuals, to the homeless, to the excluded. After World War I a concrete barge made its way up and down the Seine between Rouen and Paris.1 It was called the (...) Liège, and its mission was to supply the French capital with English coal. When it was decommissioned in 1929, the Armée du salut (the French Salvation Army) bought it with the aid of a donation from Madeleine Zillhardt, the recently bereaved long-term companion of the painter .. (shrink)

A classic source for understanding the connections between information theory and physics, this text was written by one of the giants of 20th-century physics and is appropriate for upper-level undergraduates and graduate students. Topics include the principles of coding, coding problems and solutions, the analysis of signals, a summary of thermodynamics, thermal agitation and Brownian motion, and thermal noise in an electric circuit. A discussion of the negentropy principle of information introduces the author's renowned examination of Maxwell's demon. Concluding chapters (...) explore the associations between information theory, the uncertainty principle, and physical limits of observation, in addition to problems related to computing, organizing information, and inevitable errors. 1962 ed. 81 figures. 14 tables. (shrink)

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The city has featured as a central image in utopian thought. In planning the foundation of the new and ideal city there is a close interconnection between ideas about urban form and the vision of the moral good. The spatial structure of the ideal city in these visions is a framing device that embodies and articulates not only political philosophy but is itself an articulation of moral and cosmological systems. This paper analyses three different utopian moments in three different historical (...) epochs – Tommaso Campanella’s City of the Sun (1602), the Choson dynasty foundation of the city of Seoul (1395) and the modernist utopian urbanism of the controversial Le Corbusier (1887–1965). In this analysis attention is drawn to the cosmological and moral visions articulated in these three ‘images of the city’ (Lynch). The opposition between rationalistic/mechanistic and religious/traditional urban design can prove to be an oversimplification that obscures the complex interrelations between the moral geometry and the natural alignments of the ideal urban form. (shrink)

En publiant les Principes de la philosophie du droit, Hegel ambitionnait de constituer la Science de l'Etat, et cela a l'encontre aussi bien de toute conception utopique que de toute interpretation partisane. Il disposait a cet effet des ressources theoriques presentees quelques annees auparavant dans la Science de la logique. Ce commentaire privilegie incontestablement l'aspect logique et processuel du propos hegelien. Il s'agit donc non seulement de reperer la presence de ces schemes logiques mais d'en eprouver la validite et d'en (...) verifier l'efficacite. Ce parcours logique ne fait appel qu'a l'energie et au dynamisme du pur penser - sans apport etranger, exterieur ou empirique - et a sa seule fecondite interne susceptible d'engendrer par elle-meme, de maniere immanente, la richesse et la totalite du sens. (shrink)

Space tourism is an emerging field where few people have direct experience. However, considering the potential in the near future, it is beneficial to better understand how related information influences people’s attitudes about this new form of tourism. Employing information-processing-based Bayesian Mindsponge Framework (BMF) analytics on a dataset of 361 respondents consuming content related to space tourism on Chinese social media, we found that induced happiness and impression are positively associated with willingness to try space tourism. Information authenticity positively moderates (...) these two associations. Our findings emphasize three aspects of information during the processes of reception and filtering: meaning, intensity, and trust. Since promotional materials for space tourism rely heavily on mental simulations rather than objective feedback, creative uses of digital technology are advantageous. However, precautions must be taken to prevent exploitation, such as false advertising, exaggeration, and emotional manipulation. (shrink)

Texte écrit sous la Ve dynastie chinoise, celle des Han (202 av. J.-C.-220 apr. J.-C.), qui présente sous un angle nouveau des connaissances déjà anciennes, montre que tout savoir se place sous le signe du tao et que l'interrogation sur le tao est préalable à tout autre. Les différents savoirs sont donc utilisés dans le cadre de cette démonstration, et non comme une fin en soi.

" Pour moi, la figure humaine, le corps humain n'ont pas plus d'importance que des clés ou des vélos. C'est vrai. Ce sont pour moi des objets valables plastiquement et à disposer suivant mon choix. On doit reconnaître que les traditions picturales qui nous précèdent - la figure et le paysage - sont lourdes d'influences. [...] Il a fallu, pour y voir clair, que l'artiste moderne se détache de cette emprise sentimentale. Nous avons franchi cet obstacle : l'objet a remplacé (...) le sujet, l'art abstrait est venu comme une libération totale, et on a pu alors considérer la figure humaine non comme une valeur sentimentale mais uniquement comme une valeur plastique. Voilà pourquoi dans l'évolution de mon œuvre, de 1905 à maintenant, la figure humaine reste volontairement inexpressive. ". (shrink)

Offers an exploration of what it means to be a Jew, rooted in the Talmudic tradition of argument and conflict.

Reproduit quatre conférences faites en 1946 et 1947 sous ce titre au Collège de philosophie, et interroge la notion de temps comme limitation même de l'être fini ou comme relation de l'être fini à Dieu (Electre).

A sequel to Levinas's Totality and Infinity, this work is generally considered Levinas's most important contribution to the contemporary debate surrounding the closure of metaphysical discourse, much commented upon by Jacques Derrida. This work contains a fundamentally original theory of the ethical relationship and describes the face-to-face relationship, sensibility, responsibility and speech. Renowned Levinas scholar Richard A. Cohen has contributed a new foreword to this edition of Otherwise than Being, which is also the first time the work is available in (...) an affordable paperback edition. This foreword, along with Alphonso Lingis's extensive introduction to the work, is a valuable tool for researchers and students of Levinas's philosophy. (shrink)

Die Hauptthese des Buches besteht darin, "die Zeit nicht als eine Abwertung der Ewigkeit zu denken, sondern als Verhältnis zu demjenigen, was, als von sich aus Unangleichbares, absolut Anderes, sich nicht durch die Erfahrung angleichen läßt, oder als Verhältnis zu dem, was, als von sich aus Unendliches, sich nicht begreifen läßt". Der Andere steht zum Ich im Verhältnis der Nicht-Gleichzeitigkeit (Diachronie), der "Distanz, die Nähe ist". Paradigmen solcher uneinholbaren Anderheit sind der Tod und das Weibliche. Levinas zeigt jedoch in "Le (...) temps et l'autre", wie es im Verhältnis zur Anderheit ein Durchbrechen der in sich verschlossenen Einsamkeit, ein wirkliches Transzendieren gibt, das nicht mehr Rückkehr des Selben zu sich ist. Die deutsche Übersetzung erschien 1984 erstmals im Felix Meiner Verlag und wurde von Ludwig Wenzler für die Neuausgabe (nun in der Philosophischen Bibliothek) korrigiert. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 209 Seiten: 1-3.

Genre has been a critical issue in discourse analysis as well as in other disciplines. Based on a literature review of the concept of genre and taking judgments as one type of genre in legal settings, the present study provides a corpus-based insight into the nature of genre. The literature review per se reveals that genre has one typical feature of a sign, that is, being subject to multiple and alternative interpretations; in other words, genre as a sign may have (...) various interpretants. The present study unravels the actual generic structures, distinguishes different types of generic structures within the given genre, and then defines the dominant generic structure of judgments in Hong Kong, Taiwan, and Mainland China. This study also examines and contrasts the generic structure potential of judgments in each jurisdiction. In addition, the variation of Mainland China's judgments over time is briefly discussed. Comparing the generic structures of judgments among the three jurisdictions, as well as the structures of judgments in Mainland China over time, the paper argues that genre also has the essential features of a sign, that is, the characteristics of temporality and spatiality. (shrink)

The nomenclature of the Anthropocene for this geological epoch marks in a novel way the global impact of human activity on the world. Consequently, it creatively raises the alarm bell of global environmental devastation. However, the narrative implicit in the Anthropocene presents challenges to use it as a departure point for developing an ethics of responsibility, as it contains morally relevant but ambiguous etiologies, phenomenological challenges to discrete human agency, and the potential erasure of both causes and victims of global (...) environmental degradation. This challenge compounds the challenges to traditional models of responsibility‐as‐imputation by global forms of environmental degradation signaled in the Anthropocene. Our new epoch demands new models of responsibility. This article draws upon neglected work by Paul Ricoeur to reconstruct a twofold model of responsibility: (1) responsibility‐as‐imputation and (2) responsibility for the fragile other and the domains that amplify fragility. It shows that a twofold model can more completely respond to harms elicited by anthropogenic environmental degradation by maintaining the benefits of traditional models of responsibility‐as‐accountability while dramatically expanding the subject and objects of responsibility through attention to the fragile and thus better serving us as we navigate responsibility in the Anthropocene. (shrink)