Philosophy and gardens have been closely connected from the dawn of philosophy, with many drawing on their beauty and peace for philosophical inspiration. Gardens in turn give rise to a broad spectrum of philosophical questions. For the green-fingered thinker, this book reflects on a whole host of fascinating philosophical themes. Gardens and philosophy present a fascinating combination of subjects, historically important, and yet scarcely covered within the realms of philosophy Contributions come from a wide range of (...) authors, ranging from garden writers and gardeners, to those working in architecture, archaeology, archival studies, art history, anthropology, classics and philosophy Essays cover a broad spectrum of topics, ranging from Epicurus and Confucius to the aesthetics and philosophy of Central Park Offers new perspectives on the experience and evaluation of gardens. (shrink)

Why do gardens matter so much and mean so much to people? That is the intriguing question to which David Cooper seeks an answer in this book. Given the enthusiasm for gardens in human civilization ancient and modern, Eastern and Western, it is surprising that the question has been so long neglected by modern philosophy. Now at last there is a philosophy of gardens. David Cooper identifies garden appreciation as a special human phenomenon distinct from both from the (...) appreciation of art and the appreciation of nature. He discusses the contribution of gardening and other garden-related pursuits to "the good life." And he distinguishes the many kinds of meanings that gardens may have, from their representation of nature to their spiritual significance. A Philosophy of Gardens will open up this subject to students and scholars of aesthetics, ethics, and cultural and environmental studies, and to anyone with a reflective interest in things horticultural. (shrink)

An introduction to slow gardening -- Garden psychology -- Carving out your space -- Plants: the real deal -- Nuts and bolts: universal garden practices -- Getting slow in the garden.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophy of GardensRonald MooreA Philosophy of Gardens, by David E. Cooper. Oxford: Oxford University Press, 2006, 173 pp., $35.00 cloth.It is very likely that more people devote more aesthetic attention to gardens and their contents than they do to any other set of objects in the art world or in natural environments. Despite this, however, there has been very little philosophical writing devoted specifically to (...) the aesthetics of the garden experience. Mara Miller (The Garden as an Art, 1993) and Stephanie Ross (What Gardens Mean, 1998) have written important studies of gardens from the philosophical point of view. John Dixon Hunt has written several philosophically informed studies from the historical point of view (The Figure [End Page 120] in the Landscape: Poetry, Painting, and Gardening during the Eighteenth Century, 1976; Gardens and the Picturesque: Studies in the History of Landscape Architecture, 1992; Garden and Grove: The Italian Renaissance Garden in the English Imagination, 1600-1750, 1996). But apart from this valuable handful of discussions, the subject area has received scant scholarly attention. David Cooper's new book, A Philosophy of Gardens, is a very welcome addition to this underscrutinized field of inquiry.Cooper makes it clear at the outset that he does not aim to answer the questions regarding gardens that have attracted most philosophical attention to date, questions like "How do we define 'garden'?" "What are the standards of comparative aesthetic garden quality?" and "Should gardens be regarded as chiefly works of art or as products of nature?" Such questions are both important and quite predicable in the context of late-twentieth-century Anglo-American philosophy. Cooper aims to redirect attention to what he calls the deeper question of the significance of gardens, a question that turns out ultimately to be about the way in which gardens represent a serious contribution to "the good life." The good life, as he speaks of it, is neither la dolce vita nor the life of strict moral virtue. Rather, it is something approximating Aristotelian eudaimonia, a life in which inculcated capacities and strengths of character lead to informed and appropriate ways of acting, feeling, and evaluating.This is an attractive and unconventional project, one that spills over from aesthetics into ethics, philosophical anthropology, and (ultimately) theology. The clever argument that Cooper develops makes the project intriguing and informative, even in a few areas where its conclusions are not altogether convincing. Key to Cooper's distinctive approach is his insistence on regarding gardens not merely as focal objects of aesthetic regard and appreciation but also, and more importantly, as settings in which people engage in a range of distinctive, virtue-inducing practices. Some of these practices (for example, planting, cultivating, and pruning) foster personal virtues by requiring the submission to the discipline of caring and informed superintendence. Others (for example, conducting garden parties, swimming in a garden pool, indulging in solitary reverie) foster both personal and communal virtues by locating human pursuits in a setting that itself exemplifies vitality, change, and thriving. Cooper insists that it is only through the infusion of human activity in working cooperatively with nature to create them and then in dwelling in them appreciatively that gardens reveal their true meaning.The proper notion of garden meaning, Cooper argues, does not conform to either of the two canons of appreciation that have dominated discussion to date—the art model and the nature model. The art model fails because, in its effort to align the appreciation of gardens with that of landscape painting and other familiar aesthetic artifacts, it neglects gardens' fundamental condition as places where living, growing things call upon us to tend them and cooperate in their vitality. The nature model fails because gardens are unlike meadows and mountains in that they are—to some extent—contrived by humans and imbued with purpose by them. Moreover, Cooper argues, the distinctive meaning of gardens cannot be captured by combining (or "factorizing") the two models, that is, by regarding gardens as mixed phenomena of art-and-nature. This is because there is nothing in the two, taken separately, that can account for what is peculiar to our experience of garden aesthetics when they... (shrink)

A rhetoric of refuge and escape is a consistent feature of the world’s great garden traditions. The connections between a desire for escape, need for refuge and disquieting sense that life is no longer what it ought to be gestures to a complex conception of garden appreciation. I explore these connections using Christian, Islamic, and Chinese garden traditions. In them one finds a conception of certain gardens as places of moral refuge from the corruption and failings of the mainstream world.

The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and show that, (...) far from forcing a 'picture-like' stereotype on nature, the picturesque guided the way for a new appreciation of wildness—one that resonates with contemporary environmental philosophy. (shrink)

In the 1790s, a close-knit group of German philosophers published several garden theory texts. These works are unique in that a close-knit group of philosophers had never before--and has not since--produced so many works on the topic of garden design. In essence, this cohort sought to imbue the most visionary concepts that had been inherited from the German garden tradition with the intellectual resources that were newly available through Kant’s critical philosophy. The most important of these concepts was the (...) prescription for a new Mittelweg, or "middle path," garden that would mediate between the perceived excesses of French formalism and the English picturesque. In close analysis, the author demonstrates that Kant used similar "middle path" techniques in the design of his own "critical path" between dogmatism and skepticism. This similarity is most apparent when he uses topographical metaphors to describe the organizational principles of his system. By interpreting Kant’s topographical metaphors in relation to contemporary garden theories, this book offers new insights into the structural similarities between his "critical path" and the German garden’s "middle path" between French formalism and the English picturesque. (shrink)

In the 1790s, a close-knit group of German philosophers published several garden theory texts. These works are unique in that a close-knit group of philosophers had never before--and has not since--produced so many works on the topic of garden design. In essence, this cohort sought to imbue the most visionary concepts that had been inherited from the German garden tradition with the intellectual resources that were newly available through Kant’s critical philosophy. The most important of these concepts was the (...) prescription for a new Mittelweg, or "middle path," garden that would mediate between the perceived excesses of French formalism and the English picturesque. In close analysis, the author demonstrates that Kant used similar "middle path" techniques in the design of his own "critical path" between dogmatism and skepticism. This similarity is most apparent when he uses topographical metaphors to describe the organizational principles of his system. By interpreting Kant’s topographical metaphors in relation to contemporary garden theories, this book offers new insights into the structural similarities between his "critical path" and the German garden’s "middle path" between French formalism and the English picturesque. (shrink)

My short essay on Irigaray’s relation to Nietzsche could be divided into the beginnings of six arguments: First, Nietzsche continues to hold a special place in Irigaray’s thinking. Second, Amante Marine is an important part of Irigaray’s elemental philosophy. Third, Irigaray’s insistence on depth over surface in Amante Marine points to two different ways Nietzsche has been taken up in French Philosophy, which could be characterized as the difference between surface and depth. Fourth, Irigaray’s Amante Marine anticipates the (...) most recent direction in Nietzsche scholarship, which focuses on plants and the earth. Fifth, following Nietzsche, Irigaray suggests that we can learn lessons about sharing the earth from plants. And, finally, Irigaray’s elemental philosophy resonates with my own conception of earth ethics as responsiveness to other earthlings and our environment, which I develop in my recent book Earth and World. (shrink)

In this book Miller challenges contemporary aesthetic theory to include gardens in an expanded definition of art.

Western art gardens have enjoyed a chequered relationship with philosophical aesthetics. At different times, they have been both lauded and rejected as exemplars of art, and, for most of the last 150 or so years, they have been largely ignored. However, during the last 25 years, there has been a welcome resurgence of philosophical interest in such gardens. This study situates the work stemming from this revival of interest in its historical context and assesses its adequacy in accounting for gardens (...) in accordance with a range of pan-art criteria. The study argues that contemporary philosophical accounts of gardens are inadequate in some important ways, particularly with respect to gardens’ temporality, ontology, and arthood, and the ways in which gardens are experienced. In response to the arguments of Amie Thomasson, Dominic McIver Lopes, and some other contemporary philosophers, which advocate philosophical accounts of individual arts rather than pan-art accounts, the study develops a partial, new account of gardens that aims to remedy the perceived inadequacies in existing accounts. The new account claims that gardens are singular, not multiple, artworks and that they have an identity not unlike that possessed by humans and other animals; that, metaphorically speaking, our garden experiences may be helpfully illuminated by the application of theories developed in the context of contemporary, improvisatory dance; and that the “ordinariness” of many of gardens materials may be better understood in terms of Arthur Danto’s claim that esse est interpretari, that is, that meaning and value derive from the interpretative process. The new account also proposes personhood as a potentially useful heuristic for understanding how gardens are experienced and understood. The concept of “garden,” and the related constitutive garden aspects, features, and issues are established at the opening of the study with reference to an actual garden. Thereafter, the sources on which the study draws, and which it critiques, are all archival. They include recent philosophical monographs by Mara Miller (The Garden as Art), Stephanie Ross (What Gardens Mean), and David Cooper (A Philosophy of Gardens), and a range of historical and other contemporary monographs and papers written by philosophers, garden historians, and landscape architects and theorists. (shrink)

Available in English for the first time, Imperfect Garden is both an approachable intellectual history and a bracing treatise on how we should understand and experience our lives. In it, one of France's most prominent intellectuals explores the foundations, limits, and possibilities of humanist thinking. Through his critical but sympathetic excavation of humanism, Tzvetan Todorov seeks an answer to modernity's fundamental challenge: how to maintain our hard-won liberty without paying too dearly in social ties, common values, and a coherent and (...) responsible sense of self.Todorov reads afresh the works of major humanists--primarily Montaigne, Rousseau, and Constant, but also Descartes, Montesquieu, and Toqueville. Each chapter considers humanism's approach to one major theme of human existence: liberty, social life, love, self, morality, and expression. Discussing humanism in dialogue with other systems, Todorov finds a response to the predicament of modernity that is far more instructive than any offered by conservatism, scientific determinism, existential individualism, or humanism's other contemporary competitors. Humanism suggests that we are members of an intelligent and sociable species who can act according to our will while connecting the well-being of other members with our own. It is through this understanding of free will, Todorov argues, that we can use humanism to rescue universality and reconcile human liberty with solidarity and personal integrity.Placing the history of ideas at the service of a quest for moral and political wisdom, Todorov's compelling and no doubt controversial rethinking of humanist ideas testifies to the enduring capacity of those ideas to meditate on--and, if we are fortunate, cultivate--the imperfect garden in which we live. (shrink)

This chapter contains sections titled: The Aztecs and Their Kings Nezahualcoyotl: Renaissance Man of Aztec Culture The Uses of Nezahualcoyotl: Bridging Spanish and Aztec Cultures Nezahualcoyotl's Place, and the Place of Gardens, in Aztec Political History Texcotzingo Notes.

This chapter contains sections titled: Education as Gardening: An Image of Natural Growth Do We All Possess Fertile Souls? The Gardener: What is His Contribution to the Growth of the Seeds? Gardening: Labor and Reward Plato as Gardener Dialogue Between Text and Reader: Cultivating the Seeds Teaching Us to Become Gardeners of Our Souls Plato's Literary Garden: A Corpus of Works Gardeners of Souls Notes.

This paper discusses gardening as a practice that may be useful in reconsidering how landscape boundaries can be experienced. The assumption is that one should think of landscapes as “entities” which are material, but at the same time may be said to exist only insofar as they are experienced by humans. As such, they are always bounded. In order to show how gardening may be helpful in shaping the boundaries of landscapes two approaches to gardening are discussed: (...) one treats gardening as a model of creating order and eliminating all that which is seen as alien to it (Zygmunt Bauman), the other – claims that gardening requires respecting nature (Gilles Clément). (shrink)

This chapter contains sections titled: Change and the Arts Time and the Arts Time and Change in Gardens Music Makes the Passage of Time Audible Gardens Make the Passage of Time Visible Notes.

The garden, the fire, and Islamic origins -- Visions of the afterworld -- Material culture and an Islamic ethic -- Other worldly landscapes and earthly realities -- Humanity, servants, and companions -- Individualized gardens and expanding fires -- Legacy of gardens -- Epilogue.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imperfect Garden: The Legacy of HumanismSandra Rudnick LuftImperfect Garden: The Legacy of Humanism, by Tzvetan Todorov; 254 pp. Princeton: Princeton University Press, 2002, $45.00.Tzvetan Todorov begins Imperfect Garden with an arresting premise: that the greatest achievement of the modern age—the moderns' assertion of the freedom of the human will, unlimited by allegiances to God, nature, or reason—was the fruit of a pact with the devil. Though a familiar (...) idea, Todorov uses this premise to provide a richly detailed map of the intellectual currents of the age, illuminating in the process the dangers inherent in the age's acceptance of this pact.The price to be paid for human free will would become apparent only in the following centuries—a separation from God, leading to secularism and materialism; a separation from other humans, culminating in a loss of sociality and a fall into radical isolation; ultimately, a loss of self, its unity dispersed into an "anomalous collection of impulses." Todorov delineates the age's four responses to this bargain, and the acquisition of human autonomy. They account for the four families whose interrelations characterize modernity: the conservative, which considers the three-fold price of autonomy too high, rejecting it for the authority of tradition; the scientistic—a diverse set of responses derived from modern science, historicism, Marxism, Darwinism, all of which deny the existence of human freedom and emphasize some form of determinism based on the laws of nature, reason, or history; the individualist, for which the "loss" of God, society, and self represents merely an extension of human liberation; and the humanist, which, while valuing human autonomy, does not want to [End Page 425] pay its price. Believing it can maintain communal existence, shared values, and responsible selfhood while acting out of an autonomous will, the humanist family wants to have its cake and eat it too, a desire Todorov clearly shares.Todorov delineates the views of these four families through close readings of their representative figures. Limiting himself to French authors, he includes Bonald and Tocqueville as conservatives; Condorcet, Diderot, the Encyclopedists as scientistic types; Pascal, La Rochefoucauld, De Sade, and Helvetius as individualists. Among the humanists, who are his focus, he emphasizes Montaigne, Descartes, Montesquieu, Rousseau, Constant, and Tocqueville again. While for me the primary value of Imperfect Garden is its contribution to the history of ideas of French humanism from the seventeenth to the nineteenth centuries, Todorov himself has a larger, more ideological goal. His interest is not primarily historical, but typological. He wants to crystallize the insights of his authors, distilling an ideal type whose characteristics include the ability of humans to initiate their own actions, which he calls the "autonomy of the 'I'," the ability to make another person the end of one's acts, which he calls the "finality of the 'you'," and the belief that every human has these abilities, that is, the "universality of the 'they'." Together they constitute an anthropology based on sociality, which insures the compatibility of human autonomy with social existence, shared values, and the stability of the self. He associates this "type" with a politics which provides the institutional structure for the exercise of these abilities. This latter point, the compatibility of humanism with democratic political structures, is the subtext running through the book. Humanism is, for Todorov, the modern family most compatible with democracy, just as democracy is the political institution most able to retain the positive aspects of human autonomy (pp. 29–32). This is his defense of humanism, subjected, as it currently is, to challenges which suggest the devil is trying to collect on the debt.Todorov argues his case by taking up each of the "losses" supposedly suffered when the moderns asserted the autonomy of human will. If the strength and value of his book are Todorov's close readings of his representative authors—readings rich in insights for the educated generalist, however much scholars of individual authors may differ with particular interpretations—ultimately his defense of humanism's ability to "have it all" is far less satisfying.The first price to be paid for the autonomy of the will is the social world, the fall... (shrink)

ONE Wholes and Parts: Introductory Survey COMMON WISDOM ABOUT THE WORLD GUIDES us WELL in daily living, but getting along practically is not enough; ...

Spinoza uses the interpretation of Adam’s disobedience in the Garden of Eden to mount a biblical defense of the life devoted to intellectual pursuits. In his philosophic rereading of the biblical story, Spinoza follows the lead of Maimonides in the Guide to the Perplexed Part I, chapter 2. Both philosophers invoked the biblical text to lend authority to the view that moral consciousness, in contrast with the intellectual, marks a decline in the human condition. This paper explores Spinoza’s dependence on (...) the Maimonidean interpretation and also shows where Spinoza parts company with it, giving his own philosophical twist to the tale. (shrink)

Spinoza uses the interpretation of Adam’s disobedience in the Garden of Eden to mount a biblical defense of the life devoted to intellectual pursuits. In his philosophic rereading of the biblical story, Spinoza follows the lead of Maimonides in the Guide to the Perplexed Part I, chapter 2. Both philosophers invoked the biblical text to lend authority to the view that moral consciousness, in contrast with the intellectual, marks a decline in the human condition. This paper explores Spinoza’s dependence on (...) the Maimonidean interpretation and also shows where Spinoza parts company with it, giving his own philosophical twist to the tale. (shrink)

Following the suggestion expressed in the title of this essay, I deal with the idea which allows for considering landscape garden as a paradigmatic indicator of our relationship with nature. Focusing on the idea of landscape garden and its aesthetics I analyze two aesthetic notions: the picturesque and sublime, which are the background of the kind of experience accompanying a perception and participation of and in the landscape and environment. I analyse the kind of experience, which captures all the aspects (...) that situate the human in the environment instead of opposing it. The analysis will be conducted within the framework of aesthetics. (shrink)

Stephen Mason lived quietly in southern California, raising his family and pursuing his own spiritual path. Over the years he worked out a personal philosophical and religious worldview. In his last years he wanted to pass down to his children and grandchildren the essence of what he had found on his life quest. Rather than a long monologue on the meaning of life, he adopted the use of aphorisms, in the style of Chinese sages or Sufi mystics, to share his (...) lifetime of wisdom. The result is this book. A gem of a book that helps us navigate the complex road of life by understanding we are on a journey of self-development, linked to our connection with the Divine. Mason weaves a kaleidoscope of provocative quotes by famous writers, thinkers, and artists into his philosophy. He offers not only the practical suggestions of simplicity, solitude, meditation, and prayer, but also compelling advice. He speaks to us of our completeness, while clearing the path toward personal evolution. Mason helps you enter the heart of your life, into the Garden of Life, where you experience 'the cultivation of your soul'. (shrink)

This study is an examination of gardens from the perspective of philosophy of art. Since gardens combine natural and constructed elements, utilize both existing and newly created environments, and engage visual, auditory, tactile, olfactory and kinesthetic senses, they provide an opportunity to explore the concept of art and to test the boundaries, usefulness, and general validity of the concept of art. ;In many cultures, gardens are works of art on a par with painting, architecture, and poetry. Twentieth-century Western philosophies (...) of art, however, ignore gardens completely. This study locates the reasons for this dismissal in theoretically generated preferences for arts which are unique and permanent, with a single final form, and under the control of one artist. Since gardens change constantly and involve interaction with nature rather than the simple assertion of the artist's control, they prove awkward for such theories. Moreover, since they are environments, gardens do not function as aesthetic objects, and violate the Kantian principle of aesthetic disinterest. This work considers several versions of disinterest with reference to gardens and other arts, and concludes that disinterest is neither specific to art nor adequate to its power to affect thought, feeling and action. In this light it is the theory which is inadequate to the full range of arts, including gardens. ;Relying on Cassirer's theory of symbolic forms and Langer's notions of significant form and semblance, the study turns to the question of the garden as "great art," that is, art with "significant human content." As vehicles for structuring thought, art in general and gardens in particular differ from language in important ways, and thus bear unique capacities for signification. In one case study, Renaissance knot gardens are shown to have had an important role in the clarification and dissemination of the newly-emerging scientific conception of space. (shrink)

The defense of common sense in Berkeley's Three Dialogues is, first and foremost, a defense of the gardener's claim to know this cherry tree, a claim threatened by both Cartesian and Lockean philosophy. Berkeley's defense of the gardener's knowledge depends on his claim that the being of a cherry tree consists in its being perceived. This is not something the gardener believes; rather, it is a philosophical analysis of the rules unreflectively followed by the gardener in his use of (...) the word 'exists'. It is by following these rules that the gardener gains knowledge of the cherry tree. Uncovering these deep connections between Berkeley's epistemology and his philosophy of language and placing them in the context of his critique of both Cartesian and Lockean philosophy will clarify Berkeley's strategy for bringing his reader back to common sense and practical engagement in the ordinary affairs of life. (shrink)

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a “great”character,theauthor cannot (...) just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)