History is useful when it is used properly: to understand why we and those we must deal with think and react in certain ways. It can offer examples to inform our decisions and guesses about the consequences of our actions. But we should be wary of looking to history for dogmatic lessons.We should distrust those who abuse history when they call on it to justify unreasonable claims to land, for example, or restitution. MacMillan illustrates how dangerous (...) class='Hi'>history can be in the hands of nationalistic or religious or ethnic leaders who use it to foster a sense of grievance and a desire for revenge. (shrink)

Expands our narrow understanding of Confucius by exploring unorthodox, fictional representations of him from antiquity until the present, showing how they reflect contemporary human anxieties.

Explores the ways in which history has been used to influence people and government, focusing on how reportage of past events has been manipulated to justify religious movements and political campaigns.

歴史と民族・アイデンティティ、歴史的戦争・紛争、9.11、領土問題、従軍慰安婦問題...。歴史がいかに誤用、濫用に陥りやすいか豊富な実例からわかりやすく解説。一方で、謙虚に歴史を利用することで、過ちを 回避し、世界認識と相互理解を深めた事例も提示。世界史から今日的国際問題までを概観した、歴史愛好家のための白熱抗議。.

A review of Jeffrey Burton Russell's book that demonstrates conclusively that the idea the earth was flat is a founding myth in the history of science. Hardly *any* scholar ever believed it.

Lukács has had a colorful career as a Communist theoretician. One of the strangest events is the fact that he continued to recant in 1967, when there was no longer the external pressure to do so. This may be due to the fact that his differences with Marx on subject-object, praxis, etc., are not those of a humanist.

Lukács has had a colorful career as a Communist theoretician. One of the strangest events is the fact that he continued to recant in 1967, when there was no longer the external pressure to do so. This may be due to the fact that his differences with Marx on subject-object, praxis, etc., are not those of a humanist.

Do not ask for the definition of deconstruction; ask for its history. What needs and desires did it meet at the time of its emergence? What kind of threat did it represent? How has our understanding of deconstruction changed over time? This book offers an account of the invention and reinvention of deconstruction in literary studies and the humanities more generally. Focusing on the work of Jacques Derrida and Paul de Man, it argues that the early impact of deconstruction (...) was connected to its perceived assault upon truth. After de Man's death there is a steady insistence in Derrida's work on questions about time - invention, advent, event - and on the distance between them. This book tells the story of this transition from truth to time against a background of some of the most divisive debates of the late-twentieth and early twenty-first century, about politics, history and ethics. (shrink)

The absence of self in Classical litera­ture and the emergence in the eigh­teenth century of the concept of the unique and individual self asserting its existence and seeking its truth in pri­vate experience and feeling is often touched upon in cultural histories but little explained. Seeking the reasons for and the effects of the change of attitude toward one’s concept of one’s self in the “new” eighteenth-century attitude to­ward history, biography, travel litera­ture, pornography, and the novel, Lyons finds, first, (...) that the term _self _is deceptively vague. It evolved, he notes, to fill the vacuum created by doubt about the existence of the soul. Second, Lyons finds that without a concept of the self—that ineffable something in a human being that to its inventors and their followers was an abstract of pure and intuited natural laws—the revolution and romanticism of the modern age would have been very different from what it has been. More importantly, Lyons concludes that the concept led to monumental error and to bitter disappointments rooted, as his il­luminating history shows, in the im­possibility of defining that which never was. (shrink)

I offer new arguments for an unorthodox reading of J. L. Mackie’s Ethics: Inventing Right and Wrong, one on which Mackie does not think all substantive moral claims are false, but allows that a proper subset of them are true. Further, those that are true should be understood in terms of a “hybrid theory”. The proposed reading is one on which Mackie is a conceptual pruner, arguing that we should prune away error-ridden moral claims but hold onto those already free (...) of error. This reading is very different from the standard ones found in the literature. I build on recent work by Moberger and argue that this reading is better corroborated by close attention to the way in which Mackie argues at length that terms like “good” and “ought” are systematically context-sensitive, as well as by considerable additional textual evidence. This reading, however, faces an important challenge—to explain in what sense, if any, morality retains its “normativity” on the proposed reading. I argue that this challenge can be met, at least given some of Mackie’s further assumptions about the nature of rationality. (shrink)

Ex ante predicted outcomes should be interpreted as counterfactuals (potential histories), with errors as the spread between outcomes. But error rates have error rates. We reapply measurements of uncertainty about the estimation errors of the estimation errors of an estimation treated as branching counterfactuals. Such recursions of epistemic uncertainty have markedly different distributial properties from conventional sampling error, and lead to fatter tails in the projections than in past realizations. Counterfactuals of error rates always lead to fat tails, regardless of (...) the probability distribution used. A mere .01% branching error rate about the STD (itself an error rate), and .01% branching error rate about that error rate, etc. (recursing all the way) results in explosive (and infinite) moments higher than 1. Missing any degree of regress leads to the underestimation of small probabilities and concave payoffs (a standard example of which is Fukushima). The paper states the conditions under which higher order rates of uncertainty (expressed in spreads of counterfactuals) alters the shapes the of final distribution and shows which a priori beliefs about conterfactuals are needed to accept the reliability of conventional probabilistic methods (thin tails or mildly fat tails). (shrink)

The article comments on the epistemological foundations of medieval Arabic science and philosophy, as presented in five earlier communications, and attempts to draw some guidelines for the study of its social history. At the very beginning the notion of "Islam" is discounted as a meaningful explanatory category for historical investigation. A first part then looks at the applied sciences and notes three major characteristics of their epistemological approach: they were functionalist and based on experience and observation. The second part (...) looks at the theoretical sciences and notes that their epistemology was based on geometrical as well as (b) syllogistic modes of proof, and that the particular approach of scientists and philosophers was determined by (c) whether the motivations of each were scientific or non-scientific (e.g., religious, dogmatic, eristic, etc.). A third part concludes that for medieval Arabic-writing scholars with a scientific motivation the epistemological bases of their work were common to scientists to all cultures, and that the causes of advance or decline of Arabic science and philosophy have to be sought in social factors. In this regard three factors are presented as instrumental: (a) the level of patronage and wealth in any given society within the medieval Islamic world, (b) the cultural attitude of ideological laissezfaire in Sunni Islam which neither imposed nor adopted authoritative solutions in scientific and philosophical issues, and (c) the temporal and local specificity of scientific activity that makes the social contextualization of each science necessary in historical work. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a (...) commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In the beginning was the word, or grunt, or groan, or signal of some sort. This, however, hardly qualifies as an information revolution, at least in any standard technological sense. Nature is replete with meaningful signs, and we must imagine that our early ancestors noticed natural patterns that helped to determine when to sow and when to reap, which animal tracks to follow, what to eat, and so forth. Spoken words at first must have been meaningful in some similar sense. (...) But in time the word became flesh (corpus) and dwelt among us, as "inscription" (literally, to put into writing) inaugurated the dawn of human history. This did not happen instantly. One place to enter the story is with clay tokens to represent trade transactions that in time became accounting tablets and, then, the world's first literature (Enmerkar and the Lord of Aratta, The Epic of Gilgamesh, etc.) and codes of law (The Codes of Ur-Nammu, Lipit-Ishtar, Hammurabi, and so forth.) This event happened around the north shore of the Persian Gulf sometime in the 4th millennium BCE and was enshrouded in mystery as the role of the scribe trained in the art of inscribing and deciphering signs belonged to the priest (Deibert 1997). With the sanction of religion, writing gave birth to "civility" (literally, life in the city) and defined the line between "history" and "pre-history," the latter being a term designating everything that happened before. There is little doubt that the invention of writing was significant and that it deserves recognition as the first revolution in the history of information. Life as we live it today would have been impossible otherwise. Innovations in writing technologies happened with significant effects, but at various points in the history of information, changes in technology were so dramatic that they reshaped the course of human history in radical ways. The revolution in printing is well-studied; the invention of the printing press and movable type (c.. (shrink)

There are many difficulties with the existing interpretation of Brentano’s works. The problem stems from the fact that Brentano’s works, letters, manuscripts, memoir’s, etc. remain unpublished or undiscovered. Moreover some Brentano’s scholars, namely Kastil and Mayer-Hillebrandt, were incorrect in their method in publishing the philosopher’s works. Namely, they misinterpreted his earlier works by incorporating numerous interpolations from different time periods as being the philosopher’s final thoughts. More importantly, as evidenced by Antonio Russo’s recent discovery, they also failed to realise the (...) fact that Brentano’s own theoretical views or works were mostly based on Aristotle and Thomas thoughts on metaphysics, that Brentano’s main intention was to develop a scientific demonstration on this topic, and that this issue occupied his mind until his death. It is hoped that this paper goes some way in resolving the said errors and coupled with the continue discovery of new material that the jigsaw of Brentano’s works and thinking shall someday be correctly completed. (shrink)

In 1622, Francis Bacon published his Historia naturalis et experimentalis. Many of the features of Bacon's natural and experimental histories were entirely new. This paper studies this literary form as a new epistemic genre. In particular, it analyzes its origin and evolution in Bacon's work, focusing on how its basic template and features were influenced by his specific epistemic requirements. It shows that Bacon devised these features in the process of developing a Historia mechanica, or a history of the (...) mechanical arts, drawing on the particular case of the technical recipe. Since antiquity, the recipe had been the dominant epistemic genre for recording and communicating technical knowledge. However, this paper suggests that the recipe format did not meet Francis Bacon's epistemic needs. In particular, the format was incompatible with the goal of keeping experimentation and its reporting open-ended and flexible. More generally, the acknowledgment of the provisional, historical character of knowledge was a tenet of what Bacon called an “initiative” method of knowledge transmission, or a method of “probation.” According to this approach, knowledge “ought to be delivered and intimated, if it were possible, in the same method wherein it was invented” and discovered. Only the display of its tentative features would encourage and stimulate others to improve and advance it. The format of the new genre of natural and experimental histories grew out of Bacon's dissatisfaction with the way in which recipes hid the imperfection of the process of knowledge production. (shrink)

The article argues that the oral history of philosophy (OHP) will not produce reliable results unless it develops effective methods of counteracting cognitive biases related to human memory. So far, this problem has not even been raised. I highlighted the main cognitive memory biases that affect the validity of the UIF: choice-supportive bias, hindsight bias, fundamental attribution error. Describing the nature of their detrimental effects on the interview, I suggested ways to counteract it: (1) multi-level verification of all actual (...) data; (2) checking of the interview's previous judgment; (3) mandatory data validation for the potential impact of nostalgia; (4) co-creation interviewing; (5) a sequence of questions that will problematize the possible impact of bias during the interview itself. As OHF is still a theoretically unspecified discipline, I have proposed a concept that includes (a) its definition, (b) its place among other historical and philosophical disciplines, (c) its main genres and their specificities; (d) the irreplaceability of its data for the history of philosophy as a science (the ability to engage the interviewer in an active non-self-reflection situation). Interviewer answers often cannot be obtained from traditional sources (articles, books, drafts, letters, margins, etc. ). In the end, I outlined five main arguments in favor of the broad involvement of students of the philosophical faculties in organizing and conducting interviews within the OHF. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ideas in the Brain: The Localization of Memory Traces in the Eighteenth CenturyTimo KaitaroPlato suggests in the Theaetetus that we imagine a piece of wax in our soul, a gift from the goddess of Memory. We are able to remember things when our perceptions or thoughts imprint a trace upon this piece of wax, in the same manner as a seal is stamped on wax. Plato uses this metaphor (...) to explain the errors which arise when we mistake something for something else: we connect the perception of an object with the trace belonging to another. The metaphor can also be used in explaining differences in people’s mnestic capacities: rapid learning and forgetting correspond to soft wax, impure wax results in muddled traces, etc.1 If we locate the traces in the brain instead of in the soul, Plato’s metaphor gains consistency and turns into a testable hypothesis. This move was already made by Quintilian.2So, the metaphor of memory as traces in the brain is evidently not a modern invention. This is easy to understand. To frame the hypothesis one needs only to reflect on how we use objects outside our brains for mnemonic purposes. We conserve ideas by tracing or printing letters and words on paper. We are also able to conserve images in drawings, paintings and prints. What could be more natural than to think of memory as the formation of traces in the brain? The development of even better information storage techniques in the form of pictures, symbols, and signs provides the metaphor extra plausibility. Plato’s seal allows us to imagine the imprint of a person’s likeness, but modern techniques of information storage and retrieval make it even easier to imagine memory in general as the formation of material traces.Explaining memory in terms of material traces could, of course, be taken [End Page 301] to mean that the formation of material traces in the brain is merely a necessary condition of memory. But one could also take a more reductionistic stance which identifies memory with the formation of material traces. Furthermore, one could identify specific mental items (sensations, ideas, memories) with specific physiological events or anatomical entities in the brain. This seems especially plausible if we imagine that the traces in the brain are as discrete and separate as ideas or memories are in our minds. Since the traces we form or print on paper consist of discrete letters and words, the thought that the traces in the brain are equally discrete and separate comes easily. Plato, in fact, made separateness a condition for the memory to work properly: it is not easy to read signs printed on one another.3 Of course, no traces are actually visible in the brain. But they are easy to imagine, as it is to imagine explanations of psychological phenomena, such as association, based on these traces.At the end of the seventeenth century, explanations of mental phenomena referring to material traces in the brain were used by writers, from Platonists to materialists, who supported widely different theories about the nature of the human mind.4 In fact, as I will show later in this paper, the question of the possible identity of mental entities, like ideas or sensations, with material entities or traces in the brain is relatively independent of the question of the existence of an immaterial soul. Or rather, if there is a systematic connection between the answers proposed to these two questions in the eighteenth century, it is not the connection one would expect. Nowadays we often tend to think of a prototypical materialist as someone who makes radical reductionistic claims about the identity of mental phenomena with brain states. We also tend to think of the eighteenth-century French materialists as “mechanistic.”5 In view of this reputation, it may come as a surprise to find that some eighteenth-century materialists, notably Denis Diderot, were in fact consistent anti-reductionists and opposed to mechanical or mechanistic explanations of the mental.6 In fact, the epithet “mechanistic” is misleading even when applied to the philosopher who is traditionally presented as the paradigmatic example of a “mechanistic materialist,” Julien Offray... (shrink)

Abstract At the beginning of his best seller Meaning in History , Karl Löwith launches a violent attack against Jewish prophetism, using the philosophy of history of Hermann Cohen as his first and foremost example. This article purports to show that Löwith misinterpreted the thought of Hermann Cohen. It also reclaims Cohen's own position on history and on the philosophy of history by identifying the questions Cohen himself had asked in his time. At the end of (...) the article, some paths of research are indicated that might prove themselves fruitful today, in a further study of Cohen's thought. (shrink)

Jonas Olson presents a critical survey of moral error theory, the view that there are no moral facts and so all moral claims are false. Part I explores the historical context of the debate; Part II assesses J. L. Mackie's famous arguments; Part III defends error theory against challenges and considers its implications for our moral thinking.

Gilles Deleuze's assertion that 'Sartre knew how to invent the New' suggests a vital aspect of the French philosopher, one that departs from the image that has often been presented of him. Criticism of the Soviet Union post 1956, together with the increasing prominence of anti-colonial struggles and a series of experiences that would find their condensation in 1968, pushed Sartre to a continuous rearticulation of his political ideas, on the basis of an intense confrontation with Marx. In Basso's lucid (...) study, here newly translated into English, the expression 'singular universal' seeks to capture the revolutionary potential of individual and collective subjects, illuminating the close but also unstable relationship between history and politics. (shrink)

This remarkable book is the most comprehensive study ever written of the history of moral philosophy in the seventeenth and eighteenth centuries. Its aim is to set Kant's still influential ethics in its historical context by showing in detail what the central questions in moral philosophy were for him and how he arrived at his own distinctive ethical views. The book is organised into four main sections, each exploring moral philosophy by discussing the work of many influential philosophers of (...) the seventeenth and eighteenth centuries. In an epilogue the author discusses Kant's view of his own historicity, and of the aims of moral philosophy. In its range, in its analyses of many philosophers not discussed elsewhere, and in revealing the subtle interweaving of religious and political thought with moral philosophy, this is an unprecedented account of the evolution of Kant's ethics. (shrink)

J. B. Schneewind's "The Invention of Autonomy" has been hailed as a major interpretation of modern moral thought. Schneewind's narrative, however, elides several serious interpretive issues, particularly in the transition from late medieval to early modern thought. This results in potentially distorted accounts of Thomas Aquinas, Hugo Grotius, and G. W. Leibniz. Since these thinkers play a crucial role in Schneewind's argument, uncertainty over their work calls into question at least some of Schneewind's larger agenda for the history of (...) ethics. (shrink)

This paper critically evaluates Foucault’s relation to Bachelard and Canguilhem. It reconsiders the relevance of the concept of “influence” for treating this relation in order to register the more sceptical position Foucault adopts towards knowledge practices than either of these figures from twentieth-century French epistemology.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Invention of Autonomy: A History of Modern Moral Philosophy by J. B. SchneewindFrederick RauscherJ. B. Schneewind. The Invention of Autonomy: A History of Modern Moral Philosophy. Cambridge: Cambridge University Press, 1998. Pp. xxii + 624. Cloth $69.95.For most of the twentieth century ethics has been relegated to the status of a hanger-on to other pursuits in philosophy. Only in the past three decades has ethics (...) re-emerged as a significant independent subject in the discipline. J.B. Schneewind has taken this development a step further by examining the history of ethics as a distinct branch of philosophy. He argues that modern ethics responded to a separate set of concerns from the surrounding scientific revolution’s epistemological and metaphysical subjects, and while his analysis does not prove this in every case, his treatment certainly shows that ethics does have a vital role in the history of philosophy. The Invention of Autonomy offers the most comprehensive and informative review of moral philosophy in the modern era yet published. But Schneewind supplies more than just the best historical review; he also assesses theories and arguments within the context of the great political, social, religious, and moral debates of their time and shows how those debates brought us to our present conception of moral philosophy. The Invention of Autonomy is a superb example of how to do philosophical history of philosophy.Three interrelated themes thread their way through the narrative. The first concerns the gradual replacement of an ethic of obedience with the concept of self-governance, culminating in Kant’s idea of the dignity of all autonomous rational agents. The second involves the debate between voluntarists, who hold that God imposed morality on us by an arbitrary act of will, and intellectualists, who hold that morality stems from eternal standards in God’s intellect. The third conveys the debates about human moral psychology, in particular our awareness of morality and our motivations to act, and their relation to metaphysical and epistemological claims.These themes cut across the four main, roughly chronological groupings into which Schneewind divides his theorists. Here I can only generalize their characteristic tenets and must omit one of the best features of this book: the detailed analysis of the debates and differences even among theorists who are commonly taken to share the same views. The natural law theorists’ most influential voice is Hugo Grotius. Schneewind identifies a “Grotian problematic”—the existence of conflict stemming from self-interest amid our desire to form a society together—which is taken up by other natural lawyers and eventually by Kant [Hobbes’ theory is “Grotianism at the limit” (82)]. Most but not all natural lawyers gave no substantial role to God in ethics because disagreement about religion is one of the causes of conflict in society. Only by finding rules for behavior, backed by self-interested concerns and threats of punishment, could harmony [End Page 627] reign. The chief shortcoming of natural law theory was its inability to explain the ground of moral duty which concerned only the self.The perfectionists—primarily rationalists—put more emphasis on conforming our-selves to what we know of our place in God’s plans for the universe. The complete human being will not only treat others in decent ways but also adopt a virtuous character which seeks the good. Our motivation to take our proper place in the universe stems not from fear of punishment but from a desire to realize our own happiness and from obligation to the God who created us. Perfectionism’s faults lie with its strong ties to religious belief.The third set of philosophers includes mostly the eighteenth-century empiricists. They went further than the natural lawyers in seeking to divorce morality from dependence upon God by grounding it in human nature. A moral sense or sentiment generates moral normativity and indirectly motivates behavior. This dependence on human nature opens these theorists to the charge of voluntarism or worse, since there appears to be no truly objective foundation for morality.Finally come the theorists who develop autonomy, culminating in Kant. Some writers of the German and French Enlightenment, particularly Rousseau, sought to show that morality... (shrink)

With this work J. B. Schneewind has provided the most comprehensive history of modern moral philosophy available in English. Beginning with the moral theology of the Reformation and ending with Kant, Schneewind’s book offers a panorama of moral philosophy that includes the early modern natural lawyers and their metaphysical critics, the British sentimentalists and their rationalist opponents, and a whole series of eighteenth-century attempts to develop a secular moral philosophy grounded in autonomous human reason and will. Despite its broader (...) multinational scope and its focus on ethics rather than epistemology, Schneewind’s book seems destined to replace Beck’s Early German Philosophy: Kant and his Predecessors, as culminating and summating the work of the next generation of scholars working within the historiographical canons of American Kantianism. (shrink)

The following pages, which deal with the pre-history of the concept of history from Homer to Herodotus, first propose to decenter and historicize the Greek experience. After briefly presenting earlier and different experiences, they focus on three figures: the soothsayer, the bard, and the historian. Starting from a series of Mesopotamian oracles , they question the relations between divination and history, conceived as two, certainly different, sciences of the past, but which share the same intellectual space in (...) the hands of the same specialists. The Greek choices were different. Their historiography presupposes the epic, which played the role of a generative matrix. Herodotus wished to rival Homer; what he ultimately became was Herodotus. Writing dominates; prose replaces verse; the Muse, who sees and knows everything, is no longer around. So I would suggest understanding the emblematic word "historia" as a subsititute, which operates as an analogue of the omnivision of the Muse. But before that, Herodotean "invention"- the meeting of Odysseus and the bard Demodocus, where for the first time the fall of Troy is told-can be seen as the beginning, poetically speaking at least, of the category of history. (shrink)

Examines the nature of historical knowledge, study, and writing and their functions and purposes in human societies through descriptions and illustrations of the three types of history, commemorative, critical, and invented.

Through a close reading of the opening pages of Occidental Eschatology, this paper analyzes how Jacob Taubes relied on Martin Heidegger’s philosophy to understand the nature of eschatology. Taubes implemented Heidegger’s notions of truth, error, and history from his seminal essay “On the Essence of Truth,” (mis)interpreting the essay by ascribing an eschatological meaning to it. This surprisingly allowed him to find in Heidegger a model to come to terms with the Jewish experience of history. In order to (...) fully understand this untimely use of Heidegger’s work, the paper turns its attention to the correspondence of Jacob Taubes with his first wife, Susan Taubes. The conclusion asks to what extent Jacob Taubes’s uncritical use of Heidegger’s thinking plays into the latter’s notorious antisemitism. (shrink)

In this essay I consider what is meant by the description ‘great’ philosophy and then offer some broadly applicable criteria by which to assess candidate thinkers or works. On the one hand are philosophers in whose case the epithet, even if contested, is not grossly misconceived or merely the product of doctrinal adherence on the part of those who apply it. On the other are those – however gifted, acute, or technically adroit – to whom its application is inappropriate because (...) their work cannot justifiably be held to rise to a level of creative-exploratory thought where the description would have any meaningful purchase. I develop this contrast with reference to Thomas Kuhn’s distinction between ‘revolutionary’ and ‘normal’ science, and also in light of J.L. Austin’s anecdotal remark – à propos Leibniz – that it was the mark of truly great thinkers to make great mistakes, or to risk falling into certain kinds of significant or consequential error. My essay goes on to put the case that great philosophy should be thought of as involving a constant readiness to venture and pursue speculative hypotheses beyond any limits typically imposed by a culture of ‘safe’, well-established, or academically sanctioned debate. At the same time – and just as crucially – it must be conceived as subject to the strictest, most demanding standards of formal assessment, i.e., with respect to basic requirements of logical rigour and conceptual precision. Focusing mainly on the work of Jacques Derrida and Alain Badiou I suggest that these criteria are more often met by philosophers in the broadly ‘continental’ rather than the mainstream ‘analytic’ line of descent. However – as should be clear – the very possibility of meeting them, and of their being jointly met by any one thinker, is itself sufficient indication that this is a false and pernicious dichotomy. (shrink)

With this work J. B. Schneewind has provided the most comprehensive history of modern moral philosophy available in English. Beginning with the moral theology of the Reformation and ending with Kant, Schneewind’s book offers a panorama of moral philosophy that includes the early modern natural lawyers and their metaphysical critics, the British sentimentalists and their rationalist opponents, and a whole series of eighteenth-century attempts to develop a secular moral philosophy grounded in autonomous human reason and will. Despite its broader (...) multinational scope and its focus on ethics rather than epistemology, Schneewind’s book seems destined to replace Beck’s Early German Philosophy: Kant and his Predecessors, as culminating and summating the work of the next generation of scholars working within the historiographical canons of American Kantianism. (shrink)

Jonas Olson presents a critical survey of moral error theory, the view that there are no moral facts and so all moral claims are false. Part I explores the historical context of the debate; Part II assesses J. L. Mackie's famous arguments; Part III defends error theory against challenges and considers its implications for our moral thinking.

© The Author 2016. Published by Oxford University Press on behalf of The Scots Philosophical Association and the University of St Andrews. All rights reserved. For permissions, please e-mail: [email protected] Olson's Moral Error Theory: History, Critique, Defence has four aims. First, the book aims to provide a historical background to the development of moral error theory prior to its appearance in Mackie's article, ‘A Refutation of Morals.’ Secondly, it provides a critical look at four different versions of the queerness (...) argument. Olson contends that only one of them, the argument from irreducible normativity, succeeds. Thirdly, the book defends both moral error theory and its epistemic analogue against recent criticisms. Finally, it articulates and defends an approach to moral thought and language that Olson calls moral conservationism. In brief, moral conservationism is the view that one can continue to believe false moral claims because it is useful... (shrink)