Abstract: The practice of architectural criticism is supercharged with ethical evaluations. But do they have any bearing on the architectural value of a building? And how are the ethical value of an architectural work and its aesthetic value related? I defend the following answers, which define a version of moderate moralism with respect to architecture: An architectural work will in some cases be (1) architecturally flawed (or meritorious) due to the fact that it has ethical flaws (or merits), (2) (...) aesthetically flawed (or meritorious) due to the fact that it has ethical flaws (or merits), and (3) ethically flawed (or meritorious) due to the fact that it has aesthetic flaws (or merits). (shrink)

For the Venice Architecture Biennale 2010, curator Rietveld Landscape has been invited by the Netherlands Architecture Institute (NAI) to make a statement about the potential of landscape architecture to contribute to resolving the complex challenges that our society faces today. These challenges call for innovation; for a culture centred on design skills and cooperation between scientists and creative pioneers. The installation ‘Vacant NL, where architecture meets ideas’ calls upon the Dutch government to make use of the (...) enormous potential of inspiring, unoccupied buildings from the 17th, 18th, 19th, 20th and 21st centuries for innovation within the creative knowledge economy. Images of the installation can be found here: www.rietveldlandscape.nl/en/projects/439. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. (...) Our strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)

Do accounts of scientific theory formation and revision have implications for theories of everyday cognition? We maintain that failing to distinguish between importantly different types of theories of scientific inference has led to fundamental misunderstandings of the relationship between science and everyday cognition. In this article, we focus on one influential manifestation of this phenomenon which is found in Fodor's well-known critique of theories of cognitive architecture. We argue that in developing his critique, Fodor confounds a variety of distinct (...) claims about the holistic nature of scientific inference. Having done so, we outline more promising relations that hold between theories of scientific inference and ordinary cognition. (shrink)

The representational nature of human cognition and thought in general has been a source of controversies. This is particularly so in the context of studies of unconscious cognition, in which representations tend to be ontologically and structurally segregated with regard to their conscious status. However, it appears evolutionarily and developmentally unwarranted to posit such segregations, as,otherwise, artifact structures and ontologies must be concocted to explain them from the viewpoint of the human cognitive architecture. Here, from a by-and-large Classical cognitivist (...) viewpoint, I show why this segregation is wrong, and elaborate on the need to postulate an ontological and structural continuity between unconscious and conscious representations. Specifically, I hypothesize that this continuity is to be found in the symbolic-based interplay between the syntax and the semantics of thought, and I propose a model of human information processing characterized by the integration of syntactic and semantic representations. (shrink)

Technology has a history structured by discontinuities. The first important philosophical expression of such a conception of technology was advanced by Walter Benjamin when he defined art works in relation to specific techniques of production. At the present art and architecture occur within an age defined by the move from ’technical reproducibility’ to digital reproducibility. The move has an impact on how technology is understood and its relation to architecture conceived. Adapting Walter Benjamin’s work in this area provides (...) the basis for a response to Soren Riis’ important treatment of the relationship between architecture and technology in his paper “Dwelling in-between walls: the architectural surround”. (shrink)

Fodor and Pylyshyn (1988) argue that any successful model of cognition must use classical architecture; it must depend upon rule-based processing sensitive to constituent structure. This claim is central to their defense of classical AI against the recent enthusiasm for connectionism. Connectionist nets, they contend, may serve as theories of the implementation of cognition, but never as proper theories of psychology. Connectionist models are doomed to describing the brain at the wrong level, leaving the classical view to account for (...) the mind.This paper considers whether recent results in connectionist research weigh against Fodor and Pylyshyn's thesis. The investigation will force us to develop criteria for determining exactly when a net is capable of systematic processing. Fodor and Pylyshyn clearly intend their thesis to affect the course of research in psychology. I will argue that when systematicity is defined in a way that makes the thesis relevant in this way, the thesis is challenged by recent progress in connectionism. (shrink)

Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar kind (...) of intersubjective reflection. To make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as (non-spatial) function, materials, ornamentation, and so on cannot all be reduced to spatial values.

Phytase is an enzyme that frees the phosphorus bound in feed grains and thus reduces the amount of dicalcium phosphate supplementation required for non-ruminants, reducing phosphorous excretion and thus reducing water pollution. This innovation has been widely adopted by feed companies in the US due to decreased phytase production costs and increased dicalcium phosphate costs. The roles played by phytase characteristics and choice architecture in the widespread use of this win–win technology are examined. A recent survey has also revealed (...) that Midwestern farmers are largely unaware of this technology even though they are using it. One implication is that further research on win–win technologies that will be adopted by industries, rather than being dependent on adoption by individuals, may be beneficial. (shrink)

Buildings are frequently described as ambiguous and, indeed, they often involve the ambivalence associated with ambiguous symbols. In this paper, I develop a theory of architectural ambiguity within the framework of a Goodmanian symbol theory. Based upon Israel Scheffler’s study of verbal and pictorial ambiguity, I present a theory of denotational ambiguity of buildings which distinguishes four types of ambiguity: elementary ambiguity, interpretation-ambiguity, multiple meaning and metaphor, which proves to be a special case of multiple meaning. Denotationally ambiguous buildings are (...) exceptions, because buildings usually exemplify rather than denote. I therefore add a theory of exemplificational ambiguity. The crucial distinction between mere multiple exemplification and genuine exemplificational ambiguity leads to two versions of each of the first three types of ambiguity. The resulting extension of Goodman’s symbol theory is of interest beyond architecture. (shrink)

The debate on whether and how the Internet can protect and foster human rights has become a defining issue of our time. This debate often focuses on Internet governance from a regulatory perspective, underestimating the influence and power of the governance of the Internet’s architecture. The technical decisions made by Internet Standard Developing Organisations that build and maintain the technical infrastructure of the Internet influences how information flows. They rearrange the shape of the technically mediated public sphere, including which (...) rights it protects and which practices it enables. In this article, we contribute to the debate on SDOs’ ethical responsibility to bring their work in line with human rights. We defend three theses. First, SDOs’ work is inherently political. Second, the Internet Engineering Task Force, one of the most influential SDOs, has a moral obligation to ensure its work is coherent with, and fosters, human rights. Third, the IETF should enable the actualisation of human rights through the protocols and standards it designs by implementing a responsibility-by-design approach to engineering. We conclude by presenting some initial recommendations on how to ensure that work carried out by the IETF may enable human rights. (shrink)

The debate between the theory-theory and simulation has largely ignored issues of cognitive architecture. In the philosophy of psychology, cognition as symbol manipulation is the orthodoxy. The challenge from connectionism, however, has attracted vigorous and renewed interest. In this paper I adopt connectionism as the antecedent of a conditional: If connectionism is the correct account of cognitive architecture, then the simulation theory should be preferred over the theory-theory. I use both developmental evidence and constraints on explanation in psychology (...) to support this claim. (shrink)

In our contribution we will observe phenomenal architecture of a mind and operational architectonics of the brain and will show their intimate connectedness within a single integrated metastable continuum. The notion of operation of different complexity is the fundamental and central one in bridging the gap between brain and mind: it is precisely by means of this notion that it is possible to identify what at the same time belongs to the phenomenal conscious level and to the neurophysiological level (...) of brain activity organization, and what mediates between them. Implications for linguistic semantics, self-organized distributed computing algorithms, artificial machine consciousness, and diagnosis of dynamic brain diseases will be discussed briefly. (shrink)

Deleuze and Guattari develop a notion of “minor literature” in their short book on Kafka, and the opposition major/minor has been used with varying degrees of success by critics working in a range of disciplines including architectural theory. Teasing out the potentially subversive implications of the major/minor opposition requires reading it in relation to other binarisms developed by Deleuze and Guattari in those same years, e.g., state/nomadic science, striated/smooth space, optic/haptic, as well as Guattari’s useful concept “machinic heterogenesis.” Then, one (...) ends up with a minor architecture concerned with partially subversive practices rather than with structure per se. A building’s minor status is figured through its deployment in and production of a space that is a technological, social and political pattern as well as a line of flight. This paper reads minor architecture by examining the minor house built by Henry David Thoreau at Walden Pond and those currently being assembled by the Mad Housers in Atlanta, Georgia. (shrink)

The dynamic approach to understanding of the human consciousness, its cognitive activities and cognitive architecture is one of the most promising approaches in the modern epistemology and cognitive science. The conception of embodied mind is under discussion in the light of nonlinear dynamics and of the idea co-evolution of complex systems developed by the Moscow scientific school. The cognitive architecture of the embodied mind is rather complex: data from senses and products of rational thinking, the verbal and the (...) pictorial, logic and intuition, the analytical and synthetic abilities of perception and of thinking, the local and the global, the analogue and the digital, the archaic and the post-modern are intertwined in it. In the process of cognition, co-evolution of embodied mind as an autopoietic system and its surroundings takes place. The perceptual and mental processes are bound up with the structure of human body. Nonlinear and circular connecting links between the subject of cognition and the world constructed by him can be metaphorically called a nonlinear cobweb of cognition. Cognition is an autopoietic activity because it is directed to the search of elements that are missed; it serves to completing integral structures. According to the theory of blow-up regimes in complex systems elaborated by Sergey P.Kudyumov and his followers, the idea of co-evolution is connected with the concept of tempoworlds. To co-evolve means to start to develop in one and the same tempoworld and to use the possibility – in case of a proper intergation into a whole structure – to accelerate the tempo of evolution. The cognitive activities of the human being can be considered as a movement (active walk) in landscapes of co-evolution when he cognizes and changes environment and is changed himself by the very activities. The similar conclusion can be drawn from Francisco Varela’s conception of enactive cognition. (shrink)

Although ‘glue semantics’ is the most extensively developed theory of semantic composition for LFG, it is not very well integrated into the LFG projection architecture, due to the absence of a simple and well-explained correspondence between glue-proofs and f-structures. In this paper I will show that we can improve this situation with two steps: (1) Replace the current quantificational formulations of glue (either Girard’s system F, or first order linear logic) with strictly propositional linear logic (the quantifier, unit and (...) exponential free version of either MILL or ILL, depending on whether or not tensors are used). (2) Reverse the direction of the standard σ-projection from f-structure to meaning, giving one going from the (atomic nodes of) the glue-proof to the f-structure, rather than from the f-structure to a ‘semantic projection’ which is itself somehow related to the glue-proof. As a side effect, the standard semantic projection of LFG glue semantics can be dispensed with. A result is that LFG sentence structures acquire a level composed of strictly binary trees, constructed out of nodes representing function application and lambda abstraction, with a significant resemblance to external and internal merge in the Minimalist Program. This increased resemblance between frameworks might assist in making useful comparisons. (shrink)

In the late 1980s, there were many who heralded the emergence of connectionism as a new paradigm – one which would eventually displace the classically symbolic methods then dominant in AI and Cognitive Science. At present, there remain influential connectionists who continue to defend connectionism as a more realistic paradigm for modeling cognition, at all levels of abstraction, than the classical methods of AI. Not infrequently, one encounters arguments along these lines: given what we know about neurophysiology, it is just (...) not plausible to suppose that our brains are digital computers. Thus, they could not support a classical architecture. I argue here for a middle ground between connectionism and classicism. I assume, for argument's sake, that some form(s) of connectionism can provide reasonably approximate models – at least for lower-level cognitive processes. Given this assumption, I argue on theoretical and empirical grounds that most human mental skills must reside in separate connectionist modules or sub-networks. Ultimately, it is argued that the basic tenets of connectionism, in conjunction with the fact that humans often employ novel combinations of skill modules in rule following and problem solving, lead to the plausible conclusion that, in certain domains, high level cognition requires some form of classical architecture. During the course of argument, it emerges that only an architecture with classical structure could support the novel patterns of information flow and interaction that would exist among the relevant set of modules. Such a classical architecture might very well reside in the abstract levels of a hybrid system whose lower-level modules are purely connectionist. (shrink)

In Jackendoff's Parallel Architecture, the well-formed expressions of a language are licensed by correspondences between phonology, syntax, and conceptual structure. I show how this architecture can be used to make sense of the existence of parasitic gap constructions. A parasitic gap is one that is rendered acceptable because of the presence of another gap in the same sentence. Compare *a person whoi everyone who talks to ti likes Chris, which shows an illicit extraction from a relative clause, and (...) a person whoi everyone who talks to pgi likes ti, which shows a parasitic gap in the relative clause. Languages differ in terms of the range of configurations in which they allow parasitic gaps; these configurations appear to form a hierarchy. These observations raise some fundamental questions: Why do parasitic gaps exist at all? Why are different syntactic configurations possible for P-gaps and why just these configurations? Why is there a parasitic gap hierarchy? The answers that I propose make crucial use of constructional overgeneralization of across-the-board extraction in coordinate constructions, formulated straightforwardly in the framework of Jackendoff's Parallel Architecture. (shrink)

Ontology of Construction explores theories of construction in modern architecture, with a particular focus on the relationship between nihilism of technology and architecture. Providing an historical context to the concept of making, the essays collected in this volume articulate the implications of technology in works by such architects as Le Corbusier, Frank Lloyd Wright, Adolf Loos, and Mies van der Rohe. Also provided is an interpretation of Gottfried Semper's discourse on the Tectonic and the relationship between architecture (...) and other crafts. Emphasising 'fabrication' as a critical theme for contemporary architectural theory and practice, Ontology of Construction is a provocative contribution to the current debate in these areas. (shrink)

Contents: PART I: AESTHETICS OF ARCHITECTURE: QUESTIONS. Francis SPARSHOTT: The Aesthetics of Architecture and the Politics of Space. Arnold BERLEANT: Architecture and the Aesthetics of Continuity. Stephen DAVIES: Is Architecture Art? PART II: NATURE OF ARCHITECTURE. B.R. TILGHMAN: Architecture, Expression, and the Understanding of a Culture. David NOVITZ: Architectural Brilliance and the Constraints of Time. Michael H. MITIAS: Expression in Architecture. Ralf WEBER: The Myth of Meaningful Forms. Michael H. MITIAS: Is Meaning in (...) Architecture a Myth? A Response to Ralf Weber. PART III: AESTHETIC EXPERIENCE IN ARCHITECTURE. Allen CARLSON: Existence, Location, and Function: The Appreciation of Architecture. Martin DONOUGHO: Spaced Out or Folded In? Trends in Architectural Choreography. Tom LEDDY: Dialogical Architecture. Roy T. DECKER: Tactility and Imagination: Considerations of Aesthetic Experience in Architecture. Robert GINSBERG: Aesthetics in Hiroshima. The Architecture of Remembrance. (shrink)

'...deserves serious attention among new theories in architecture, and is recommended for all university architectural collections.'|s CHOICE.

The use of the computer metaphor has led to the proposal of mind architecture (Pylyshyn 1984; Newell 1990) as a model of the organization of the mind. The dualist computational model, however, has, since the earliest days of psychological functionalism, required that the concepts mind architecture and brain architecture be remote from each other. The development of both connectionism and neurocomputational science, has sought to dispense with this dualism and provide general models of consciousness – a uniform (...) cognitive architecture –, which is in general reductionist, but which retains the computer metaphor. This paper examines, in the first place, the concepts of mind architecture and brain architecture, in order to evaluate the syntheses which have recently been offered. It then moves on to show how modifications which have been made to classical functionalist mind architectures, with the aim of making them compatible with brain architectures, are unable to resolve some of the most serious problems of functionalism. Some suggestions are given as to why it is not possible to relate mind structures and brain structures by using neurocomputational approaches, and finally the question is raised of the validity of reductionism in a theory which sets out to unite mind and brain architectures. (shrink)

In this paper I argue for a stronger consideration of the possible relationship between social psychology and architecture and architectural history. After a brief review of some of the ways in which other social psychologists have sought to develop links between social psychology and history, I consider the utility of architecture in more depth, especially to the social psychologist interested in the development of knowledge and understanding. I argue that, especially when knowledge is institutionalised, the design and use (...) of buildings might have a particular contribution to make to the way we can understand how phenomena have been understood and approached in the past. Although many examples are relevant, I consider the case of the psychiatric hospital (or “asylum”) in more detail. (shrink)

Aborder l’exposition comme média implique de considérer le point de vue du producteur (commissaire), celui du récepteur (visiteur) et celui de l’exposition (à travers les moyens employés et l’aspect de l’architecture communiqué). Deux manières d’envisager la communication de l’architecture au musée sont abordées. Pour la première, et selon nous la plus ancienne, le terme architecture est pris au sens de bâtiment. Les commissaires tentent alors de transmettre à la fois l’expérience et la matérialité du bâtiment. Pour la (...) seconde manière, apparue ces vingt dernières années, c’est plutôt le projet architectural (idée, processus, bâtiment et représentations) que l’on communique. La communication de l’idée et du processus semble être une tendance forte qui cible la pratique architecturale. Cette réflexion critique mène au constat suivant : d’un point de vue communicationnel, l’exposition d’architecture oublie trop souvent de considérer son destinataire, et les commissaires n’utilisent donc pas son plein potentiel comme média. (shrink)

The view that moral cognition is subserved by a two-tieredarchitecture is defended: Moral reasoning is the result both ofspecialized, informationally encapsulated modules which automaticallyand effortlessly generate intuitions; and of general-purpose,cognitively penetrable mechanisms which enable moral judgment in thelight of the agent's general fund of knowledge. This view is contrastedwith rival architectures of social/moral cognition, such as Cosmidesand Tooby's view that the mind is wholly modular, and it is argued thata two-tiered architecture is more plausible.

The title of this article is adapted from Theodor W. Adorno’s famous dictum: ‘To write poetry after Auschwitz is barbaric.’ After the catastrophic earthquake in Kocaeli, Turkey on the 17th of August 1999, in which more than 40,000 people died or were lost, Necdet Teymur, who was then the dean of the Faculty of Architecture of the Middle East Technical University, referred to Adorno in one of his ‘earthquake poems’ and asked: ‘Is architecture possible after 17th of August?’ (...) The main objective of this article is to interpret Teymur’s question in respect of its connection to Adorno’s philosophy with a view to make a contribution to the politics and ethics of architecture in Turkey. Teymur’s question helps in providing a new interpretation of a critical approach to architecture and architectural technology through Adorno’s philosophy. The paper also presents a discussion of Adorno`s dictum, which serves for a better understanding of its universality/particularity. (shrink)

This article presents a systematic exposition of how the basic ideas of Construction Grammar and the Parallel Architecture of grammar provide the framework for a proper account of morphological phenomena, in particular word formation. This framework is referred to as Construction Morphology. As to the implications of CxM for the architecture of grammar, the article provides evidence against a split between lexicon and grammar, in line with CxG. In addition, it shows that the PA approach makes it possible (...) to be explicit about what happens on which level of the grammar, and thus to give an insightful account of interface phenomena. These interface phenomena appear to require that various types of information are accessible simultaneously, and it is argued that constructional schemas have the right format for expressing these mutual dependencies between different types of information. (shrink)

This paper responds to criticisms levelled by Fodor, Pylyshyn, and McLaughlin against connectionism. Specifically, I will rebut the charge that connectionists cannot account for representational systematicity without implementing a classical architecture. This will be accomplished by drawing on Paul Smolensky's Tensor Product model of representation and on his insights about split-level architectures.

To highlight care in architecture, I resuscitate Epicurus’ valorization of friendship in philosophy, contending that friendly love of wisdom is a practice of well-being, ataractic know-how. I emphasize the body as the instrument of the ataractic project of living. John McDermott and architect Christopher Alexander argue that affection has a place in contemporary design: what a person feels love for in the initial situation guides design. I argue that friendship with things leads us to care for and repair them. (...) Repair familiarizes one with materials, makes one a maker, increases bodily skill. Reparative architecture revivifies natural human affections for place. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the (...) discourses and tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Adobe masonry is part of the vernacular architecture of Cyprus. Thus, it is possible to use this technology in a meaningful way on the island. On the other hand, although adobe architecture is more sustainable in comparison to other building technologies, the use of it is diminishing in North Cyprus. The application of Turkish building code in the north of the island has created complications in respect of the use of adobe masonry, because this building code demands that (...) reinforced concrete vertical tie-beams are used together with adobe masonry. The use of reinforced concrete elements together with adobe masonry causes problems in relation to the climatic response of the building as well as causing other technical and aesthetic problems. This situation makes the design of adobe masonry complicated and various types of ethical problems also emerge. The objective of this article is to analyse the ethical problems which arise as a consequence of the restrictive character of the building code, by analysing two case studies and conducting an interview with an architect who was involved with the use of adobe masonry in North Cyprus. According to the results of this article there are ethical problems at various levels in the design of both case studies. These problems are connected to the responsibilities of architects in respect of the social benefit, material production, aesthetics and affordability of the architecture as well as presenting distrustful behaviour where the obligations of architects to their clients is concerned. (shrink)

Alongside his work as a practising architect, Sigurd Frosterus (1876–1956) was one of Finland’s leading architectural critics during the first decades of the 20th century. In his early life, Frosterus was a strict rationalist who wanted to develop architecture towards scientific ideals instead of historical, archaeological, or mythological approaches. According to him, an architect had to analyse his tasks of construction in order to be able to logically justify his solutions, and he must take advantage of the possibilities of (...) the latest technology. The particular challenge of his time was reinforced concrete. Frosterus considered that the buildings of a modern metropolis should be constructivist in expressing their purpose and technology honestly. The impulses of two famous European architects – Otto Wagner and Henry van de Velde – had a life-long influence on his work. Urban architecture with long street perspectives and houses with austere façades and unified eaves lines was the stylistic ideal that he shared with the Austrian architect Wagner. An open and enlightened urban experience was Frosterus’s future vision, not National Romantic capriciousness or intimacy drawing from the Middle Ages. According to Frosterus, the Belgian van de Velde was the master interior architect of the epoch, the interior of the Nietzsche Archives in Weimar being an excellent example of his work. However, already in the 1910s Frosterus’s rationalism developed towards a broader understanding of the functions of the façades of business edifices. In his brilliant analyses of the business palaces by the Finnish architects Armas Lindgren and Lars Sonck, he considered the symbolic and artistic values of the façades to be even more important than technological honesty. Moreover, references to the history of architecture had a crucial role in the 1920s and 1930s when he wrote about his main work– the Stockmann department store in the centre of Helsinki.  . (shrink)

The period that has begun after the last quarter of the 19th century brings an open conflict between the ‘histori- cal’ aspect of modernity and the ‘aesthetical’ one. The situation raises a question about the modern architectural shape’s dependency on architectonic function. Utility, production, profit become the keywords of the ideology; new social utopias and their reflection on the architecture- for-the masses projects emerge. This leads to the urban alienation of the modern man, in spite of the well-intended architectural (...) functionalism and mechanistic comfort, both of them ideologically uphold in order to ensure an easy livelihood for the proletariat. Thus, the late modernity is constrained to retrieve though eclecticism the very values that has denied itself, the mixing of codes that it ‘performs’ nowadays standing for a new ideology, one of “the ending of ideologies”. (shrink)

What is a singular object? An idea, a building, a color, a sentiment, a human being. Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the (...) topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts, the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving. Jean Baudrillard is one of the most influential thinkers of his generation and author of _The Vital Illusion_. Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture. Robert Bononno, a translator and teacher, lives in New York City. (shrink)

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. Complexity, (...) therefore, will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)

By some of the top philosophers in the field of aesthetics as well as those in the architectural profession, essays in this book related architecture to other artforms such as photography. literature and painting. relates architecture to other artforms such as photography, literature and painting contains essays by some of the world's top philosophers works with a diversity of architectural concepts and issues philosophical discussions are generated by professionally designed architectural projects as well as vernacular ones extends the (...) bounds of architectural issues presently discussed by philosophers. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; (...) its main repression in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” , has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (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)

Introduction -- Historical essays -- The humanist brain : Alberti, Vitruvius, and Leonardo -- The enlightened brain : Perrault, Laugier, and Le Roy -- The sensational brain : Burke, Price, and Knight -- The transcendental brain : Kant and Schopenhauer -- The animate brain : Schinkel, Bötticher, and Semper -- The empathetic brain : Vischer, Wölfflin, and Göller -- The gestalt brain : the dynamics of the sensory field -- The neurological brain : Hayek, Hebb, and Neutra -- The phenomenal (...) brain : Merleau-Ponty, Rasmussen, and Pallasmaa -- Neuroscience and architecture -- Anatomy : architecture of the brain -- Ambiguity : architecture of vision -- Metaphor : architecture of embodiment -- Hapticity : architecture of the senses -- Epilogue: The architect's brain. (shrink)

The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the analysis draws (...) an analogy between the deconstructive reading of texts and jazz improvisation to show the relevance that creativity has for both. This is followed by an examination of the similarities between Derrida's notion of différance and the musical figure of syncopation. The analysis is completed by an argument that the jazz event of the jam session is an encounter and creative 'dialogue', with features similar to Derrida's conception of hospitality. Chapter 2 focuses on deconstruction and photography. First, the discussion explores the correlation between truth and photography. It will be argued that deconstruction challenges the logocentric organisation of photographs based on the prominence of what is immediately visible in images and fosters a more creative interpretation, which is based on the play between concealment and unconcealment within photographs. Second, it investigates the implications of Derrida's analysis of temporality for photography. This supports an investigation into how Derrida's notion of responsibility and the future to come can be applied to photography. Chapter 3 focuses on deconstruction and architecture. First, the analysis establishes the links between architecture and language by outlining the creative and transformative outcome that the correlation between function and meaning in the light of deconstruction produces. Second, the investigation examines Bernard Tschumi's idea of architecture as event in Parc de La Villette. Tschumi's work is an example of how the deconstructive approach adopted by architects fosters creativity in users. Finally, the analysis focuses on the transformative and creative character of portable architecture by investigating the correlation between the creative character of deconstructive concepts such as freeplay, parergon, and the axiom of incompleteness, and the transformative features of tents. (shrink)

In this book of the world's greatest architects explores the original aims and principles of modern architecture.

Ethics, architecture and philosophy -- Architecture, ethics and aesthetics -- Architecture and culture -- Experiencing architetcure -- Writing on 'the Wall': memory, monuments and memorials -- Building community: new urbanism, planning and democracy.

Ex/in Australia--anonymous architecture -- In/editorial --In/interviews: F. Soler, J. Ferrier, W.J. Neutelings & M. Riedijk, R. Ricciotti, J. Moussafir, P. Gazeau, C. Hauvette, F. Seigneur, MVRDV, J. Nouvel, D. Lyon & P. du Besset, M. Vitart & J-M Ibos, ACTAR Arquitecura, M. Fuksas, A. Gigon & M. Guyer ,F. Druot, J. Herzog & P. de Meuron -- Ex/exteriors--Road movie -- In/reflexion on the peripherical stance--Paul Ardenne --Ex/exhibitions: Cécile Paris, Stalker, Access local, Anne Frémy --In/interests: University Paris 8 St.-Denis, garden (...) shed, Café musiques, etc. (shrink)

In cognitive science, the concept of dissociation has been central to the functional individuation and decomposition of cognitive systems. Setting aside debates about the legitimacy of inferring the existence of dissociable systems from ‘behavioural’ dissociation data, the main idea behind the dissociation approach is that two cognitive systems are dissociable, and thus viewed as distinct, if each can be damaged, or impaired, without affecting the other system’s functions. In this article, I propose a notion of functional independence that does not (...) require dissociability, and describe an approach to the functional decomposition and modelling of cognitive systems that complements the dissociation approach. I show that highly integrated cognitive and neurocognitive systems can be decomposed into non-dissociable but functionally independent components, and argue that this approach can provide a general account of cognitive specialization in terms of a stable structure–function relationship. 1 Introduction2 Functional Independence without Dissociability3 FI Systems and Cognitive Architecture4 FI Systems and Cognitive Specialization. (shrink)

This paper explores the difference between Connectionist proposals for cognitive a r c h i t e c t u r e a n d t h e s o r t s o f m o d e l s t hat have traditionally been assum e d i n c o g n i t i v e s c i e n c e . W e c l a i m t h a t t h (...) e m a j o r d i s t i n c t i o n i s t h a t , w h i l e b o t h Connectionist and Classical architectures postulate representational mental states, the latter but not the former are committed to a symbol-level of representation, or to a ‘language of thought’: i.e., to representational states that have combinatorial syntactic and semantic structure. Several arguments for combinatorial structure in mental representations are then reviewed. These include arguments based on the ‘systematicity’ of mental representation: i.e., on the fact that cognitive capacities always exhibit certain symmetries, so that the ability to entertain a given thought implies the ability to entertain thoughts with semantically related contents. We claim that such arguments make a powerful case that mind/brain architecture is not Connectionist at the cognitive level. We then consider the possibility that Connectionism may provide an account of the neural (or ‘abstract neurological’) structures in which Classical cognitive architecture is implemented. We survey a n u m b e r o f t h e s t a n d a r d a r g u m e n t s t h a t h a v e b e e n o f f e r e d i n f a v o r o f Connectionism, and conclude that they are coherent only on this interpretation. (shrink)

The idea that there is a “Number Sense” (Dehaene, 1997) or “Core Knowledge” of number ensconced in a modular processing system (Carey, 2009) has gained popularity as the study of numerical cognition has matured. However, these claims are generally made with little, if any, detailed examination of which modular properties are instantiated in numerical processing. In this article, I aim to rectify this situation by detailing the modular properties on display in numerical cognitive processing. In the process, I review literature (...) from across the cognitive sciences and describe how the evidence reported in these works supports the hypothesis that numerical cognitive processing is modular. I outline the properties that would suffice for deeming a certain processing system a modular processing system. Subsequently, I use behavioral, neuropsychological, philosophical, and anthropological evidence to show that the number module is domain specific, informationally encapsulated, neurally localizable, subject to specific pathological breakdowns, mandatory, fast, and inaccessible at the person level; in other words, I use the evidence to demonstrate that some of our numerical capacity is housed in modular casing. (shrink)

An important application of cognitive architectures is to provide human performance models that capture psychological mechanisms in a form that can be “programmed” to predict task performance of human–machine system designs. Although many aspects of human performance have been successfully modeled in this approach, accounting for multitalker speech task performance is a novel problem. This article presents a model for performance in a two-talker task that incorporates concepts from psychoacoustics, in particular, masking effects and stream formation.