Structuralism can be defined as an important concept of using “units” as elements of form and space-giving, where the whole form is made not only up of a “texture”, a certain flexible grid, or an algorithm of shape-giving, but it depends also on the relationships created and how people use it. The hypothesis of this study is that “Modular Construction” can also have an aesthetically pleasing outlook and that modular housing can definitely have increasing importance in the future. (...) Modular housing due to its cheap, and manufactural way of construction can be replicable in various locations. Structuralism and Modular Construction have been at the core of the Modernist movement. Although postmodernism marked the decline of modular construction adopting methods known for a more close sense of place, vernacular, and locality, which differs from the ubiquitous model of modernism, it is the universality of space and habitation seen since the times of Hippodamus Grid, Japanese Tattami systems, and rational universal space in housing known in Europe that make grid and modular design an excellent system in obtaining, rationality, functionality, flexibility, and energy efficiency, including quick construction and possibility for replication. In this regard, modular construction has a future, especially in times of crisis and economic instability. (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)

Introduction -- The fundamentals and their role in design -- Underneath it all -- Tiling the plane without gap or overlap -- Symmetry, patterns and fractals -- The stepping stone of Fibonacci and the harmony of a line divided -- Polyhedra, spheres and domes -- Structures and form in three dimensions -- Variations on a theme: modularity, closest packing and partitioning -- Structural analysis in the decorative arts, design and architecture -- A designer's framework.

What follows is a discussion of three sets of experimental results that deal with various aspects of universal biological understanding among American and Maya children and adults. The first set of experiments shows that by the age of four-to-five years urban American and Yukatek Maya children employ a concept of innate species potential, or underlying essence, as an inferential framework for understanding the affiliation of an organism to a biological species, and for projecting known and unknown biological properties to organisms (...) in the face of uncertainty. The second set of experiments shows that the youngest Maya children do not have an anthropocentric understanding of the biological world. Children do not initially need to reason about non-human living kinds by analogy to human kinds. The third set of results show that the same taxonomic rank is cognitively preferred for biological induction in two diverse populations: people raised in the Mid-western USA and Itza' Maya of the Lowland Meso-american rainforest. This is the generic species  the level of oak and robin. These findings cannot be explained by domain-general models of similarity because such models cannot account for why both cultures prefer species-like groups in making inferences about the biological world, although Americans have relatively little actual knowledge or experience at this level. The implication from these experiments is that folk biology may well represent an evolutionary design: universal taxonomic structures, centred on essence-based generic species, are arguably routine products of our ‘habits of mind,' which may be in part naturally selected to grasp relevant and recurrent ‘habits of the world.' The science of biology is built upon these domain-specific cognitive universals: folk biology sets initial cognitive constraints on the development of any possible macro-biological theory, including the initial development of evolutionary theory. Nevertheless, the conditions of relevance under which science operates diverge from those pertinent to folk biology. For natural science, the motivating idea is to understand nature as it is ‘in itself,' independently of the human observer. From this standpoint, the species-concept, like taxonomy and teleology, may arguably be allowed to survive in science as a regulative principle that enables the mind to readily establish stable contact with the surrounding environment, rather than as an epistemic concept that guides the search for truth. (shrink)

Michel Foucault continues to be regarded as one of the most essential thinkers of the twentieth century. A brilliantly evocative writer and conceptual creator, his influence is clearly discernible today across nearly every discipline-philosophy and history, certainly, as well as literary and critical theory, religious and social studies, and the arts. This volume exploits Foucault's insistent blurring of the self-imposed limits formed by the disciplines, with each author in this volume discovering in Foucault's work a model useful for challenging not (...) only these divisions but developing a more fundamental interrogation of modernism. Foucault himself saw the calling into question of modernism to be the permanent task of his life's work, thereby opening a path for rethinking the social. Understanding Foucault, Understanding Modernism shows, on the one hand, that literature and the arts play a fundamental structural role in Foucault's works, while, on the other hand, it shifts to the foreground what it presumes to be motivating Foucault: the interrogation of the problem of modernism. To that end, even his most explicitly historical or strictly epistemological and methodological enquiries directly engage the problem of modernism through the works of writers and artists from de Sade, Mallarmé, Baudelaire to Artaud, Manet, Borges, Roussel, and Bataille. This volume, therefore, adopts a transdisciplinary approach, as a way to establish connections between Foucault's thought and the aesthetic problems that emerge out of those specific literary and artistic works, methods, and styles designated “modern.” The aim of this volume is to provide a resource for students and scholars not only in the fields of literature and philosophy, but as well those interested in the intersections of art and intellectual history, religious studies, and critical theory. (shrink)

Descartes argued that productivity, namely our ability to generate an unlimited number of new thoughts or ideas from previous ones, derives from a single undividable source in the human soul. Cognitive scientists, in contrast, have viewed productivity as a modular phenomenon. According to this latter view, syntactic, semantic, musical or visual productivity emerges each from their own generative engines in the human brain. Recent evidence has, however, led some authors to revitalize the Cartesian theory. According to this view, a (...) single source or a single mechanism in the human brain produces productivity in every cognitive domain, whether in the domain of music, semantics or syntax. In this article, we will address recent evidence concerning the single source hypothesis from brain-imaging studies, linguistics, cognitive theories of music perception, biology of cognition and cognitive development, along with several objections that have been presented against this hypothesis. We formulate two versions of the Cartesian theory which combine the more recent computational theory of cognition with Descartes' view on productivity. (shrink)

The article deals with the problem of cognition in the framework of the biogenetic structuralist neurophenomenology of Charles Laughlin. The aim of the article is to study the possibilities of applying the biogenetic structuralist theory as a theoretical and methodological basis for the study of consciousness in Laughlin’s theory. A feature of biogenetic structuralism is the interdisciplinary fusion of anthropology, psychology, and neuroscience. The methodology of biogenetic structuralism allows exploring universal structures of consciousness, which are caused by the genetically (...) predisposed organization of the human nervous system. Universal structures of consciousness include structures that mediate human language, knowledge of time and space. It is shown that the problem of cognition is realized in neurognostic models, which are compared with the operational environment. Neurognostic models include both the real nature of man as an organism and the external environment of the organism. Laughlin introduces the concept of a cognitive environment to designate a set of neurognostic models that can potentially be captured by the area of consciousness. He relies on the idea of a cognitive environment, which is essentially intentional in its organization. The polar interaction between the prefrontal cortex and the sensory cortex of the human brain gives rise to the intentionality of consciousness. Laughlin explains the work of the human cerebral cortex neurognostically as omnipresent for human consciousness, and independent of the cultural background. The cerebral cortex is a field of neural activity that arises and dissolves in temporal sequences and coordinates with cognitive processes that connect meaning and form into a single structure in consciousness. The experience of consciousness suggests a sensitive sphere of the cerebral cortex ascertains the meaningful, phenomenal world. The biogenetic structuralist methodology allows to development of an idea of the intentional structure and uniqueness of consciousness. The biogenetic structuralist approach is heuristic for modern science because, firstly, this approach creates the maximum opportunity to include data obtained from naturalistic, ethnographic, anatomical, clinical, and experimental sources; secondly, biogenetic data have the widest empirical and phenomenological rationale; thirdly, biogenetic concepts are defined in the context of a holistic understanding of the phenomenon through the uniqueness of consciousness. (shrink)

This article reframes our understanding of French structural anthropology by considering the work of André Leroi-Gourhan alongside that of Claude Lévi-Strauss. These two anthropologists worked at opposite poles of the discipline, Lévi-Strauss studying cultural objects, like myths and kinship relations; Leroi-Gourhan looking at material artifacts, such as stone tools, bones, arrowheads, and cave paintings. In spite of their difference in focus, these thinkers shared a similar approach to the interpretation of their sources: Each individual object was meaningful only as part (...) of a larger whole. For Lévi-Strauss, structuralism was designed to unlock features of the human mind; for Leroi-Gourhan, to uncover the material processes that underlay human life. Again, in spite of their difference in orientation, both structuralisms produced similar theories of human society. Whether ‘primitive’ or ‘advanced’, all societies functioned the same way: Their institutions worked harmoniously, beyond the intentions of any individual actors, to preserve the stability of the group. This eliminated the basis for thinking one society was superior to another. Finally, the article argues that both Lévi-Strauss and Leroi-Gourhan believed that structural anthropology could found a ‘new humanism’, and thereby rescue modernity from moral degeneration. This ‘new humanism’ could not only produce a universal description of human nature, but also help rethink French colonialism, broker new geopolitical alliances, and prevent the erasure of world cultures. Structural anthropology thus imagined a tight relationship between its social-scientific work and its political-moral mission. (shrink)

Higher education has a dual responsibility, both to the academy and to society at large, to effectively confront racism on campus. And yet, in the United States and perhaps elsewhere, it fails to effectively confront racism as the result of systemic flaws, expressed as organizational intransigence, even as new “supportive and protective” structures are created. Thus, the central question raised by the anonymized, composite narrative case study at the core of this paper is as follows: To what extent, if (...) any, do the familiar organizational structures of higher education, encompassing both leadership and management processes, reinforce or resist racism on campus? Consistent with other social science researchers, the authors believe that richly contextualized narrative cases help to bridge the world of ideas and conjecture and actual situations. We used an iterative process spanning three months for drawing our case, involving a back-and-forth communication of actual experiences involving campus racism. The resulting composite narrative provides a richly contextualized situation drawn from real life, while still preserving anonymity. We regarded this later aspect as crucial for making possible the close examination of an ethically challenging situation that might otherwise remain invisible due to sensitive information. Our analysis focused on campus responsiveness to the challenge of racism within a mechanistic organization, rooted in structuralism, versus an organic organization, rooted in post-structuralism. Four aspects of a more organic university design are identified as key to bringing about meaningful, ethically sound change within the academy: deep, reflective listening; a more horizontal, consensus-based leadership structure that empowers professionals at various ranks; freedom within a framework; and a broadly shared, continually reinforced focus on overarching principles, goals, and ideals. (shrink)

A bold new approach to combatting the inherent corruption of representative democracy This provocative book reveals how the majority of modern liberal democracies have become increasingly oligarchic, suffering from a form of structural political decay first conceptualized by ancient philosophers. Systemic Corruption argues that the problem cannot be blamed on the actions of corrupt politicians but is built into the very fabric of our representative systems. Camila Vergara provides a compelling and original genealogy of political corruption from ancient to modern (...) thought, and shows how representative democracy was designed to protect the interests of the already rich and powerful to the detriment of the majority. Unable to contain the unrelenting force of oligarchy, especially after experimenting with neoliberal policies, most democracies have been corrupted into oligarchic democracies. Vergara explains how to reverse this corrupting trajectory by establishing a new counterpower strong enough to control the ruling elites. Building on the anti-oligarchic institutional innovations proposed by plebeian philosophers, she rethinks the republic as a mixed order in which popular power is institutionalized to check the power of oligarchy. Vergara demonstrates how a plebeian republic would establish a network of local assemblies with the power to push for reform from the grassroots, independent of political parties and representative government. Drawing on neglected insights from Niccolò Machiavelli, Nicolas de Condorcet, Rosa Luxemburg, and Hannah Arendt, Systemic Corruption proposes to reverse the decay of democracy with the establishment of anti-oligarchic institutions through which common people can collectively resist the domination of the few. (shrink)

Psychoanalytic literary criticism has always been something of an embarrassment. One resists labeling as a “psychoanalytic critic” because the kind of criticism evoked by the term mostly deserves the bad name it largely has made for itself. Thus I have been worrying about the status of some of my own uses of psychoanalysis in the study of narrative, in my attempt to find dynamic models that might move us beyond the static formalism of structuralist and semiotic narratology. And in general, (...) I think we need to worry about the legitimacy and force that psychoanalysis may claim when imported into the study of literary texts. If versions of psychoanalytic criticism have been with us at least since 1908, when Freud published his essay on “Creative Writers and Day-dreaming,” and if the enterprise has recently been renewed in subtle ways by post-structuralist versions of reading, a malaise persists, a sense that whatever the promises of their union, literature and psychoanalysis remain mismatched bedfellows—or perhaps I should say playmates.The first problem, and the most basic, may be that psychoanalysis in literary study has over and over again mistaken the object of analysis, with the result that whatever insights it has produced tell us precious little about the structure and rhetoric of literary texts. Traditional psychoanalytic criticism tends to fall into three general categories, depending on the object of analysis: the author, the reader, or the fictive persons of the text. The first of these constituted the classical locus of psychoanalytic interest. It is now apparently the most discredited, though also perhaps the most difficult to extirpate, since if the disappearance of the author has been repeatedly announced, authorial mutants ceaselessly reappear, as, for instance, in Harold Bloom’s psychomachia of literary history. Like the author, the fictive character has been deconstructed into an effect of textual codes, a kind of thematic mirage, and the psychoanalytic study of the putative unconscious of characters in fiction has also fallen into disrepute. Here again, however, the impulse resurfaces, for instance in some of the moves of a feminist criticism that needs to show how the represented female psyche refuses and problematizes the dominant concepts of male psychological doctrine. Feminist criticism has in fact largely contributed to a new variant of the psychoanalytic study of fictive characters, a variant one might label the “situational-thematic”: studies of Oedipal triangles in fiction, their permutations and evolution, of the roles of mothers and daughters, of situations of nurture and bonding, and so forth. It is work often full of interest, but nonetheless methodologically disquieting in its use of Freudian analytic tools in a wholly thematic way, as if the identification and labeling of human relations in a psychoanalytic vocabulary were the task of criticism. The third traditional field of psychoanalytic literary study, the reader, continues to flourish in ever-renewed versions, since the role of the reader in the creation of textual meaning is very much on our minds at present, and since the psychoanalytic study of readers’ responses willingly brackets the impossible notion of author in favor of the acceptable and also verifiable notion of reader. The psychoanalytic study of the reader may concern real readers or the reader as psychological everyman . But like the other traditional psychoanalytic approaches, it displaces the object of analysis from the text to some person, some other psychodynamic structure—a displacement I wish to avoid since, as I hope to make clear as I go along, I think psychoanalytic criticism can and should be textual and rhetorical. Peter Brooks is the Tripp Professor of the Humanities at Yale University, where he is also director of the Whitney Humanities Center and chairman of the French department. His most recent book is Reading for the Plot: Design and Intention in Narrative, which has recently been reissued in paperback. His work in progress concerns psychoanalysis and story-telling. (shrink)

This textbook is designed for an Introduction to Proofs course organized around the themes of number and space. Concepts are illustrated using both geometric and number examples, while frequent analogies and applications help build intuition and context in the humanities, arts, and sciences. Sophisticated mathematical ideas are introduced early and then revisited several times in a spiral structure, allowing students to progressively develop rigorous thinking. Throughout, the presentation is enlivened with whimsical illustrations, apt quotations, and glimpses of mathematical history and (...) culture. Early chapters integrate an introduction to sets, logic, and beginning proof techniques with a first exposure to more advanced mathematical structures. The middle chapters focus on equivalence relations, functions, and induction. Carefully chosen examples elucidate familiar topics, such as natural and rational numbers and angle measurements, as well as new mathematics, such as modular arithmetic and beginning graph theory. The book concludes with a thorough exploration of the cardinalities of finite and infinite sets and, in two optional chapters, brings all the topics together by constructing the real numbers and other complete metric spaces. Designed to foster the mental flexibility and rigorous thinking needed for advanced mathematics, Introduction to Mathematics suits either a lecture-based or flipped classroom. A year of mathematics, statistics, or computer science at the university level is assumed, but the main prerequisite is the willingness to engage in a new challenge. (shrink)

Hegel’s philosophy has witnessed periods of revival and oblivion, at times considered to be an unrivalled and all-embracing system of thought, but often renounced with no less ardour. This book renews the dialogue with Hegel by looking at his legacy as a source of insight and judgement that helps us rethink contemporary economics. This book focuses on a concept of institution which is equally important for Hegel's political philosophy and for economic theory to date. The key contributions of this Hegelian (...) perspective on economics lead us to the synthesis of traditional approaches and new ideas gained in economic experiments and advanced by neuroeconomists, sociologists and cognitive scientists. The proper account of contemporary 'civil society' involves comprehending it as a historically evolving totality of individual minds, ideas and intersubjective structures that are mutually dependent, tied by recognitive relations, and assert themselves as a whole in the ongoing performative movement of 'objective spitit'. The ethics of recognition is paired with the ethics of associations that supports moral principles and gives them true, concrete universality. This unusual constellation of seemingly remote fields suggests that Hegel, read in a pragmatist mode, anticipated the new theories and philosophies of extended mind, social cognition and performativity. By providing a new conceptual apparatus and reformulating the theory of institutions in the light of this new synthesis, this book claims to give new meaning both to Hegel as interpreted from today, and to the social sciences. Seen from this perspective, such phenomena as cooperation in games, personal identity or justice in the version of Amartya Sen's 'realization-focused comparisons' are reinscribed into the logic of institutional theory. This 'Hegel' clearly goes beyond the limits of philosophical discussion and becomes a decisive reference for economists, sociologists, political scientists and other scholars who study the foundations and consequences of human sociality and try to explore and design the institutions necessary for a worthy common life. (shrink)

The ‘argument from design’ plays a pivotal role in Carruthers’ recent defence of the massive modularity thesis. However, as this paper seeks to show, there are major flaws in its structure. If construed deductively, it is unsound: modular mental architecture is not necessarily the best architecture, and even if it were, this alone would not show that this architecture evolved. If construed inductively, it is not much more convincing, as it then appears to be too weak to support the (...) kind of modularity Carruthers is concerned with. The upshot of this is that whatever reason we might have for believing that the mind is massively modular, it is not based on the argument from design. (shrink)

recent defence of the massive modularity thesis. However, as this paper seeks to show, there are major flaws in its structure. If construed deductively, it is unsound: modular mental architecture is not necessarily the best architecture, and even if it were, this alone would not show that this architecture evolved. If construed inductively, it is not much more convincing, as it then appears to be too weak to support the kind of modularity Carruthers is concerned with. The upshot of (...) this is that whatever reason we might have for believing that the mind is massively modular, it is not based on the argument from design. Introduction Carruthers’ Argument from Design Modularity and Optimality: Problems for the Deductive Argument from Design Degrees of Modularity: Problems for the Inductive Argument from Design Conclusion CiteULike Connotea Del.icio.us What's this? (shrink)

An emerging class of theories concerning the functional structure of the brain takes the reuse of neural circuitry for various cognitive purposes to be a central organizational principle. According to these theories, it is quite common for neural circuits established for one purpose to be exapted (exploited, recycled, redeployed) during evolution or normal development, and be put to different uses, often without losing their original functions. Neural reuse theories thus differ from the usual understanding of the role of neural plasticity (...) (which is, after all, a kind of reuse) in brain organization along the following lines: According to neural reuse, circuits can continue to acquire new uses after an initial or original function is established; the acquisition of new uses need not involve unusual circumstances such as injury or loss of established function; and the acquisition of a new use need not involve (much) local change to circuit structure (e.g., it might involve only the establishment of functional connections to new neural partners). Thus, neural reuse theories offer a distinct perspective on several topics of general interest, such as: the evolution and development of the brain, including (for instance) the evolutionary-developmental pathway supporting primate tool use and human language; the degree of modularity in brain organization; the degree of localization of cognitive function; and the cortical parcellation problem and the prospects (and proper methods to employ) for function to structure mapping. The idea also has some practical implications in the areas of rehabilitative medicine and machine interface design. (shrink)

In this paper, I define tacit knowledge as a kind of causal-explanatory structure, mirroring the derivational structure in the theory that is tacitly known. On this definition, tacit knowledge does not have to be explicitly represented. I then take the notion of a modular theory, and project the idea of modularity to several different levels of description: in particular, to the processing level and the neurophysiological level. The fundamental description of a connectionist network lies at a level between the (...) processing level and the physiological level. At this level, connectionism involves a characteristic departure from modularity, and a correlative absence of syntactic structure. This is linked to the fact that tacit knowledge descriptions of networks are only approximately true. A consequence is that strict causal systematicity in cognitive processes poses a problem for the connectionist programme. (shrink)

Epistemic structuralism, the idea that social structures have an immense influence on our inquiries and epistemic behavior, presents a unique challenge to the emerging field of vice epistemology. The most extreme application of this challenge results in the rejection of vice explanations in favor of structural explanations for epistemic behavior. Some vice epistemologists have expressed the intuitive idea that vice explanations and structural explanations may be synthesized, but the exact details of such a synthesis have yet to be adequately (...) examined. This paper starts by trying to gain clarity about structuralism and structuralist explanations in epistemology, then it discusses how a well-developed vice-structural explanation can be done. I end this paper by briefly noting a few crucial issues that demand further investigation. (shrink)

Recent technical developments in the logic of nominalism make it possible to improve and extend significantly the approach to mathematics developed in Mathematics without Numbers. After reviewing the intuitive ideas behind structuralism in general, the modal-structuralist approach as potentially class-free is contrasted broadly with other leading approaches. The machinery of nominalistic ordered pairing (Burgess-Hazen-Lewis) and plural quantification (Boolos) can then be utilized to extend the core systems of modal-structural arithmetic and analysis respectively to full, classical, polyadic third- and fourthorder number (...) theory. The mathenatics of many structures of central importance in functional analysis, measure theory, and topology can be recovered within essentially these frameworks. (shrink)

This article develops further a proposal for conversation at the ASC 2020 Global Conversation event, motivated by exchange of e-mails with Ranulph Glanville in 2007. Drawing from the questions raised by Glanville and myself, this article addresses the concept of autopoiesis and the possibility of revisiting the concepts of structure and organization, which are discussed with an example of a transfunctional interface (structure) designed to invite people to configure unpredictable organizations. It examines the correspondence between structure and organization and opens (...) new questions to rethink cybernetics in the realm of relations. (shrink)

ABSTRACTColin Hay's constructivist institutionalism and Vivien A. Schmidt's discursive institutionalism are two recent attempts to theorize ideas as potential explanations of institutional change. This new attention to the causal role of ideas is welcome, but Hay and Schmidt do not take into consideration the constitutive and structural aspects of ideas. Instead they reduce ideas to properties of individual conscious minds, scanting the respects in which ideas are intersubjectively baked into the practices shared by individuals. This aspect of ideas—arguably, the institutional (...) side of ideas—is developed in post-structuralist thought, which therefore demands a place in ideational research. (shrink)

Ontic Structural Realism (OSR) gives ontic priority to structures over objects. In its perhaps most extreme form (captured, admittedly, by a slogan) it states that “all that there is, is structure” (da Costa and French 2003, 189). If this is true, if there is nothing but structure(s) in the world, the very idea of contrasting structure to nonstructure loses any force it might have. Actually, if the slogan is right, the very idea of characterising what there is as structure—as (...) opposed to anything else—becomes incoherent. Traditionally, characterising something as a structure has made full sense —and has served excellent scientific and philosophical purposes—precisely because structure was understood as an entity with slots, which could be occupied by objects and whose individuation-conditions involved objects only qua slot-fillers. If objects altogether go, whatever remains can be called ‘structure’ only if we take ‘structure’ to be a term of art. Well, Ontic Structuralists are happy to ‘mimic’ talk of non-structure, or objects in particular, but they hasten to add that this mimicking does not imply any serious metaphysical commitment to them. Here are a couple of characteristic passages. (shrink)

A structured collection of tools for engineering resilience and a research approach to improve the resilience of a power grid are described in this paper. The collection is organized by a two-dimensional array formed from typologies of power grid components and business processes. These two dimensions provide physical and operational outlooks, respectively, for a power grid. The approach for resilience research is based on building a simulation model of a power grid which utilizes a resilience assessment equation to assess baseline (...) resilience to a hazards’ profile, then iteratively selects a subset of tools from the collection, and introduces these as interventions in the power grid simulation model. Calculating the difference in resilience associated with each subset supports multicriteria decision-making to find the most convenient subset of interventions for a power grid and hazards’ profile. Resilience is an emergent quality of a power grid system, and therefore resilience research and interventions must be system-driven. This paper outlines further research required prior to the practical application of this approach. (shrink)

The squared paper or graphs are grid-based design representations used in engineering, industrial and craft design practices wherein designs are drawn over symmetrical grids. This paper reports grid-processing strategies undertaken by actors in a native craft practice, viz. Kashmiri carpet-weaving having three task contexts: (1) _design_, wherein designs are drawn on graph sheets and color scheme given by assigning practice-specific symbolic codes to the motifs by designers; (2) _coding_, wherein a cryptic script, called _talim_, is generated from these encoded graphs (...) by talim-writers; and (3) _weaving_, wherein this script is read, decoded and communicated in an equally cryptic trade-language by weavers among their teams. 32 video-recorded think-aloud sessions were conducted with talim-writers to understand their graph-processing and resultant coding strategies. The observations and qualitative analysis of transcripts revealed highly _situated_ strategies undertaken by experts keen on imbibing visuality of design embedded in the grids, in contrast to _embodied_ strategies undertaken by less-experienced coders keen on processing grids’ structural features and getting overwhelmed by grid-clutter in the process. In this landscape, the findings revealed a negotiated nature of errors instead of being deviations from the underlying grid and thereby objectively assessable. The paper makes recommendations for CAD systems to include more of those grid features exploited by experts during their graph processing to facilitate designers. (shrink)

Lacan wrote and generated ideas at the intersection of structuralism and poststructuralism, and the question of where he stands in this intersection is crucial to understand his conception of the subject. This essay takes the multiplicity of views on Lacan as a structuralist and a poststructuralist as its starting point and aims to weigh these labels against the background of his specific theories and views. We suggest that in his early phase when he was categorised as a structuralist, he had (...) the seeds of his later poststructuralist phase, and when he was generating his poststructuralist ideas, he was building them on his structuralist legacy. This evolution is similar to that of Roland Barthes in that he establishes an ongoing dialog between structuralism and poststructuralism: he is both a threshold figure suggesting an amalgam of these movements, but he is also a dividing figure as his evolution points at the unbridgeable rupture between structuralism and poststructuralism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:François H. Lapointe PHILOSOPHY AND LITERATURE: A BIBLIOGRAPHIC SURVEY ThL· survey is limited to articles written in English that have appeared in journals published between 1 January 1974 and 31 December 1976. Abbott, Don. "Marxist Influences on the Rhetorical Theory of Kenneth Burke." Philosophy and Rhetoric 7 (1974): 217-33. Abel, Lionel. "Jacques Derrida: His 'Difference' With Metaphysics." Salmagundi no. 25 (1974): 3-21. Adamowski, T. H. "Character and Consciousness: D. (...) H. Lawrence, Wilhelm Reich, and Jean-Paul Sartre." University of Toronto Quarterly 43 (1974): 31 1-34. Adams, D. J. "Style and Social Ideas in Jacques le fataliste." Studies in Voltaire & the Eighteenth Century 124 (1974): 231-48. Adams, Hazard. "Contemporary Ideas of Literature: Terrible Beauty or Rough Beast?" Contemporary Literature 17 (1976): 349-77. Adorno, Theodor W. "Lyric Poetry and Society." Telos no. 20 (1974): 56-71. Ages, Arnold. "Bonald and the Jews." Revue de l'Université d'Ottawa 44 (1974): 32-43. Allen, Diogenes. "The Experience of Existence: Jean-Paul Sartre and Iris Murdoch." International Philosophical Quarterly 14 (1974): 181-87. Allen, Marcus. "Character Development in the Oreste of Voltaire and Les Mouches of Jean-Paul Sartre." CLA Journal 18 (1974): 1-21. Alter, Jean. "A (Terrorist) System of the Novel." Diacritics 6 (1976): 10-15. Altieri, Charles. "Wittgenstein on Consciousness and Language: A Challenge to Derridean Literary Theory." MLN 91 (1976): 1397-1423. Altieri,Charles. "Wordsworth's 'Preface' as Literary Theory." Criticism 18 (1976): 122-146. [On Wordworth and Wittgenstein.] Ames, Van Meter. "Art for Art's Sake Again?" Journal of Aesthetics and Art Criticism 33 (1975): 303-307. Appleman, Philip. "The Dread Factor: Eliot, Tennyson, and the Shaping of Science." Columbia Forum, N. S. 3 (1974): 32-38. Armstrong, Paul B. " E. M. Forster's Howard's End: The Existential Crisis of the Liberal Imagination." Mosaic 8 (1974): 183-99. Arnold, A. James. "La Condition humaine as Nietzschean Tragedy." Mélanges Malraux Miscellany 6 (1974): 15-24. 366 François H. Lapointe367 Aronson, Ronald. "L'Idiot de la famille: The Ultimate Sartre?" Telos no. 20 (1974): 90-107. Arthos, John. "Du Bartas, Petrarch and the Poetry of Deism." Rice University Studies 60 (1974): 1-17. Artz, Johannes. "Newman as Philosopher." International Philosophical Quarterly 16 (1976): 263-88. Ausmus, Harry J. "Schopenhauer's Philosophy of Language." The Midwest Quarterly 18 (1977): 169-86. Ayala, Francisco. "Ortega y Gasset, Literary Critic." Critical Inquiry 1 (1974): 395-414. Bakalar, H. Nicholas. "The Cartesian Legacy to the Eighteenth-century Grammarians." MLN 91 (1976): 698-721. Barnes, Hazel. "Apotheosis and Deification in Plato, Nietzsche and Huxley." Philosophy and Literature 1 (1976): 3-24. Baron, Dennis E. "Role Structure and the Language of Literature." Journal of Literary Semantics 4 (1975): 43-52. Barooskian, Vahan D. "The Aesthetics of the Russian Revolutionary Theatre 1917-1921." British Journal of Aesthetics 15 (1975): 99-117. Bart, B. F. "Hypercreativity in Stendhal and Balzac." Nineteenth Century French Studies 3 (1974-75): 18-39. Barthes, Roland. "An Introduction to the Structural Analysis of Narrative." New Literary History 6 (1975): 237-72. Bashford, Bruce. "The Rhetorical Method in Literary Criticism." Philosophy and Rhetoric 9 (1976): 133-46. Bass, Alan. "Time and the Witch: Femininity, Metapsychology and the Temporality of the Unconscious." MLN 91 (1976): 871-912. Bassett, Sharon. "Towards a Critique of Romanticism: Wordsworth, Pater and the 'Anima Mundi'." Criticism 17 (1975): 262-75. Batchelor, R. "Literature, Society and the Concept of Revolt." European Studies Review 5 (1975): 395-427. Battin, M. Pabst. "Aristotle's Definition of Tragedy in the Poetics, Part 1." Journal of Aesthetics and Art Criticism 33 (1974): 155-70, and Part II in Ibid. 33 (1975): 293-302. Bauer, George. "Sartre and the 'Sugars' of History." L'Esprit Créateur 15 (1975): 377-86. Baumgarten, Murray. "The Historical Novel: Some Postulates." Clio 4 (1975): 173-82. Beauchamp, Gorman. "Gulliver's Return to the Cave: Plato's Republic and Book IV of Gulliver's Travels." The Michigan Academician 7 (1974): 201-10. Bennett, Jonathan. "The Conscience of Huckleberry Finn." Philosophy 48 (1974): 123-34. Benzon, William. "Cognitive Networks and Literary Semantics." MLN 91 (1976): 952-82. Bergonzi, Bernard. "A Grid of Codes: Views of Structuralism." Encounter 45 (1975): 52-58. Berry, Wanda Warren. "The... (shrink)

The relation between structure and conjuncture has been one of the biggest challenges facing social theory and Louis Althusser’s writings provide some of the most important interventions on this subject. Contrary to an image of Althusser first embracing and then abandoning structuralism, Althusser tried from the beginning to articulate the theory of structural causality with an insistence on the singularity of historical conjunctures. Althusser’s theoretical trajectory, despite his shortcomings, still offers a necessary starting point for a materialist conception of the (...) relation between structural and conjunctural determinations that stresses the complex, uneven and overdetermined character of social reality without resorting either to a ‘surface phenomena/deep structures’ dualism or to the empiricism of simply registering singular practices. (shrink)

What can the creation of artificial habitats to replace old-growth forests tell us about the process, value and future of design? This chapter takes a concrete and provocative example and uses it to rethink design as a gradual, ecological action. To illustrate this understanding, the chapter begins with a description of a proposal to provide artificial habitats for wild animals such as birds, bats and invertebrates. The controversial idea to replace rapidly disappearing old-growth trees with artificial structures puts in (...) doubt habitual assumptions about the clients, procedures and goals of design. This example is of relevance to all design because the need to provide artificial habitats to nonhumans will be increasingly common under the influence of such phenomena as global warming or urbanisation. … The invention of artificial structures in place of natural habitats is described in this chapter as an incitement that highlights the need for further research into values, participants and methods of design. This discussion concludes with a proposal for an attitude of modesty in the face of increasingly overwhelming volumes of information as well as in the presence of an even greater ignorance about the futures of nondeterministic, volatile and incompletely controllable natural systems. The dilemma of design in these conditions is in the tension between its remit to act and the uncertainty that inescapably underlies any creative endeavour. (shrink)

After sorting different structuralist claims, I argue that structural realist ideas are instantiated in the social sciences, providing both clarification of social science research and support for some components of structural realism. My main focus is on three distinct ways that the social sciences can be about structural relations—exemplified by claims about social structure, reduced form structures in causal modeling, and equilibrium explanations—and on the implication of structuralist ideas for thinking about issues concerning causal explanation and nonreductive pictures of (...) the unity of the science. †To contact the author, please write to: Department of Philosophy, 900 13th Street South, University of Alabama at Birmingham, Birmingham, AL 35294; e‐mail: [email protected]. (shrink)

This essay is about how the notion of “structure” in ontic structuralism might be made precise. More specifically, my aim is to make precise the idea that the structure of the world is given by the relations inhering in the world, in such a way that the relations are ontologically prior to their relata. The central claim is the following: one can do so by giving due attention to the relationships that hold between those relations, by making use of certain (...) notions from algebraic logic. (shrink)

The article is devoted to the philosophical and cultural analysis of postmodern philosophy on the basis of the Hegelian methodology, Heidegger's philosophy of language, structural psychoanalysis, deconstructionism, hermeneutics, universal ethics and philosophy of dialogue. The article substantiates the thesis that postmodernism as a model of theoretical reflection is autonomous with regard to liberalism and relativism with the concept of a "French school", which has an anti-liberal orientation and corresponds to the conservative Christian attitudes imposed by implicit ontological meanings. The medieval (...) ontological "nuclei" of postmodernism are concepts: "Real" by J. Lacan, "Archepism" by J. Derrida, "Schizoid" by J. Deleuze, "language reconfiguration" by P. Ricker. Thus, freed from the stereotypes of relativity, postmodernism appears as a third alternative in opposition to the European choice between liberalism and radicalism. The double standard extends to the attitude of liberals to radical currents in crisis processes. Initially, liberal leaders take an overwhelming majority in right-wing nationalism, using it as a tool to support the status quo of capitalism, a means of distracting the masses from real problems, and a mechanism of intimidation. When the mass is intimidated enough, it is proposed to liberalism as "a source of defacing" as the "only alternative". We can talk about the artificial situation of identifying the choice of Fa versus Antifa for the subject who is forced to choose between "purse and life" - between multiculturalism and radical nationalism The key task of structural psychoanalysis is not only the returning of the conflict to its original place, that is, the disclosure of the deep-seated class traumas of the capitalist neoliberal world itself, according to S. Zizek and other representatives of the Slovenian school, but also - the separation of the philosophy of postmodernism as a spiritual phenomenon from political projects of neoliberalism and multiculturalism, which until recently were considered an applied dimension of postmodern politics and promoted the introduction into the social practice of the vicious circle "liberalism - nationalism liberalism" - a circle that does not provide choice and which excludes from its own semiosfery any other values: ethical and dialogical, modern, conservative, religious, international, non-system Left and others. In order to realize this task, postmodernism must be considered under the other viewpoint, depriving it of the stereotypes of "relativism", "cynicism" and "enlightenment", that is, it is necessary to demonstrate that the authentic core of postmodern philosophy is far from multicultural indifference of "post-truth" and includes expressive ontological motives. The double goal of our study: to carry out a critical rethinking of postmodernism as a form of manifestation of a conservative attitude based on hereditary archetypes of the Middle Ages and Modernism, and to show that postmodernism as a philosophy is not the cause of the tragic self-denial of postmodernism as an applied measurement of multiculturalism, that multiculturalism with its vicious circles of relativity, devastation and radicalism is separate from the phenomenon of postmodernism and belongs to the "shock" project of American liberal democracy, and not to "French school" Moreover, the School of Post-Structuralism of the Sorbonne, as the basis of postmodernism, is the descendant of the Marxist school of "new left" in Frankfurt and its meaning is fundamentally anti-capitalist and anti-liberal. By combining among themselves in a single interdisciplinary field the classical philosophy of M. Heidegger's language, J. G. Derrida's "grammar", G. Lacan's structural psychoanalysis, J. Habermas's universal ethics, J. de Gaulle's schizodiscourse, and hermeneutics and the philosophy of P. Ricker's dialogue, we have shown that In the semantic field of postmodernism there are ontological kernels of conservatism, which approximate this philosophical model to medieval traditionalist thought and make the border between modern and postmodern very conditional. The return of postmodernism to the status of the philosophy of being and the liberation of the French school from the stereotypes of "lack" and "loseness" is necessary in order to protect postmodernism from accusations of cynicism, relativism and "emptiness", since these allegations are, firstly, based on the mixing of postmodernism with liberal irony, and, secondly, often serve as an excuse for the revival of various kinds of fundamentalist aspirations. We have shown that liberalism, by provoking through the irony of the identification of the "illusion", initially contributes to the development of radical movements, and then, when they emerge from the symbolic control, they remove them from the agenda as "fascist", opposing them to themselves. There is a closed vicious circle of impossibility to choose between "Fa and Antifa". Our work was an attempt to remove postmodernism from this circle. (shrink)

In the first half of the twentieth century there was a remarkable convergence of art and design in De Stijl, Constructivism and the Bauhaus. But in the second half of the twentieth century fine art relinquished its liaison with design due to the influence of Dada and Surrealism's postromantic antagonism to practical-functionalism. Dada and Surrealism and postmodern fine art are characterized by a critique of the dominant social discourse of functionalism and the demand for a sublime poetics to be brought (...) into everyday life. This article argues that the apparent antipathy between postmodern fine art and design can be ameliorated if we critically analyse interpretations of evolutionary theory by postromantic philosophers such as Nietzsche, Bergson, and Deleuze and Guattari. When Bergson notes that practical-functional reasoning was created by evolution he reveals a flaw in the pursuit of an aesthetics that is totally opposed to commonsense and practical-functionalism. And when we turn to Deleuze and Guattari we find another valuable concept in the form of their notion of the machinic, which assists further in reconciling the postromantic emphasis on the sublime with the practicality of mechanism. Moreover, Deleuze and Guattari's notion of the machinic is informed by chaos theory, which allows further elaboration in terms of complexity theory. Complexity theory can be understood as a process philosophy that has no need to figure the sublime in terms of a mysterious force of nature because the mystery is located within complex interactions among a manifold of components, what one might refer to as a cosmic, machinic, combinatoire that arises out of what Christopher Langton has called the edge of chaos. This makes it possible to replace the emphasis on desire as the fundamental force of nature evident in Nietzsche, Bergson, Deleuze and Guattari with a complexity-theoretical concept of a cosmicmachinic combinatoire. It is then possible to formulate a machinic, evolutionary aesthetics that can reconcile the postromantic demand for sublimity with the demand for practical-functionalism that lies at the heart of the discipline of design. In place of the modernist machine aesthetic that informed De Stijl, Constructivism and the Bauhaus we would have a postmodernist machinic aesthetic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Complex Mimetic SystemsHans Weigand (bio)The goal of science is to make the wonderful and complex understandable and simple—but not less wonderful.—Herb Simon, The Sciences of the Artificial11. IntroductionComplex systems theory stands for an approach in the social as well as natural and computational sciences that studies how interactions between parts give rise to collective behaviors of a system, and how the system interacts and forms relationships with its environment. (...) A typical example is the market economy, in which the order is emergent: it is the result of human action, but not the execution of any human design.2 Complex systems theory is currently a popular vehicle for understanding the complexities of the Internet; other examples of its application are as diverse as the stock market, ant colonies, epidemics, and the spread of business innovations. The focus in this article is on modeling social systems rather than physical or biological phenomena. [End Page 63]The mimetic theory developed by René Girard fits well with a systems perspective, as it has specific ideas about the drivers of human action (at the micro level) and cultural processes (at the macro level). The relationship has been explored earlier in several books and articles;3 in particular, in the work of the Centre de Recherche en Epistémologie Appliquée (CREA) in Paris. The systems perspective received a new stimulus in the 1990s in the form of complex adaptive systems (CAS),4 not least because of the agent-based computer simulations adopted at that time. The objective of this article is to introduce a special version of CAS, called complex mimetic systems (CMS), which builds on mimetic theory. The purpose of this article is twofold. On the one hand, the phrasing of mimetic theory in terms of CMS poses an interesting challenge to the theory to formalize its concepts and explicate possible limitations. On the other hand, CMS might be a useful contribution to the CAS field, as it incorporates concepts such as “social influence” that are very basic to but typically not spelled out in current CAS work.The structure of this article is as follows. In section 2, I briefly review the CAS literature and introduce the idea of complex mimetic systems. Section 3 describes a straw-man agent architecture for CMS, whereas in section 4, I move to the macro level and formalize the culture reproduction cycle. To illustrate the applicability of the CMS framework, I discuss in section 5 Ingo Piepers’s recent CAS analysis of the European international system in the period 1490–1945, and comment on it from a CMS perspective.2. Complex Mimetic SystemsThe characteristic features of complex systems are as follows:• Nonlinear effects: a small perturbation may have a large effect.• Feedback loops: the effects of an element’s behavior are fed back to it in some way. The feedback can be positive (amplification, runaway) or negative (damping).• Openness: a typical complex system interacts with its environment.• Memory: the history of a complex system may be important. Prior states may have an influence on present states.• Nesting, hierarchy: a complex system may itself be an element of a larger complex system. For example, clans in a tribal society, nation-states in an international system, or divisions in a company. [End Page 64]• Topology: the interactions of the elements are enabled and constrained by the network, or grid, of relationships between them.Complex Adaptive SystemsComplex adaptive systems (CAS) are a modern variant of complex systems theory. The elements of a complex adaptive system are called agents, as CAS builds on computational research in the field of multiagent systems.5 Although there is not much difference in the overall objectives, the use of agent simulation opens up interesting research opportunities. Let me clarify this by means of an introductory example given by Miller and Page, the standing ovation problem.6Standing ovations, in which waves of audience members stand up to express their particular appreciation of a performance, usually arise and evolve spontaneously. Suppose that we want to model this phenomenon. A starting point could be a simple mathematical model in which we distinguish N people, each receiving a signal... (shrink)

Although the idiom “genesis and structure” is usually associated with the rise of structuralism in the late 1950s and early 1960s, the two notions are arguably among the most persistent methods in the history of modern philosophy. This article outlines the emergence of “genetic epistemology” in the seventeenth century, when the seemingly antithetical character of the conceptual pair was reworked into a productive epistemological theory, especially in Descartes, Hobbes, Spinoza, and Leibniz, who increasingly used diachronic (genetic) narratives to explain the (...) synchronic (structural) features in their theories. Against Cassirer, I argue that it was Descartes rather than Hobbes who first presented structural issues genetically. In Descartes’ natural philosophy, his frequent claims that showing how a thing is produced reveals its true nature foreshadow precisely what Hobbes and Isaac Barrow later describe as causal definitions of geometric figures, in which the process of ideal generation by motion is what constitutes the very essence of a figure. I link this method to the historicizing discourse on origins in the Enlightenment and conclude by suggesting that there is a trace of Platonic idealism in genetic epistemology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual ArtsJames Elkins (bio)The PhD in visual arts is inescapable: it is on the horizon. In just a few years, there will be a number of such programs in the United States, and if the trend mirrors the expansion of MFAs after the mid-1960s, then in a few decades the PhD will be the consensus "terminal" degree for (...) artists. Given that, it is pressing to consider how the degree might be theorized. In Australia and the United Kingdom, where the degrees already exist, their growth has been dictated in large measure by the existing educational structures and by the inevitable quest for funding. (In the United Kingdom, university departments get a disproportionate increase in their funding if they offer doctorate programs, and the same pattern occurs in state schools in America.) As a result, existing programs simply grow by exonomic necessity or opportunity, and so far they have not been well theorized apart from models already in use elsewhere in the university. Private universities and art schools in the United States are therefore well positioned to rethink the conceptual foundations of combined studio and scholarly PhDs, because they are largely freed of the temptation of increased funding and the obligation to fit the new programs into existing structures. In this essay, I propose eight configurations that such degrees might take. I close with three general observations about the future of such programs.Three pieces of background are necessary as introduction. First, the School of the Art Institute, Chicago, where I teach, is currently running an four-year undergraduate major in visual studies. Soon we will be expanding it into an MA and, in a few years, a PhD. At the BA level our program already has a large studio component. For that reason we have been looking at programs that offer comparable combinations of creative and scholarly work at the PhD level. Our own program, we hope, will be a place [End Page 22] where the possibilities of other programs can be kept open and continuously questioned.Second, this essay was originally a reader's report for a creative-arts PhD thesis called "Beyond the Surface: The Contemporary Experience of the Italian Renaissance," written by Jo-Anne Duggan for the University of Technology, Sydney. In fall 2003 Duggan was a candidate for the "DCA," Doctorate of Creative Arts." She is a photographer, and her special interest is photographing inside museums; her thesis explores the history and theory of that practice. The report I wrote for her was the basis of this essay, because I found that her thesis is a mixture of what I think are the eight principal possibilities for combining PhD-level scholarship and creative work.Third, this essay is the outgrowth of several colloquia that have been held at the College Art Association and at the Association of Independent Colleges of Art and Design/National Association of Schools of Art and Design (AICAD/NASAD) conferences (organizations of art school administrators). These ad hoc forums have been, so far, the only places where the new programs have been debated. I hope this essay can contribute to a more detailed discussion.Here are the eight configurations. The first five are (or will be) common, and the last two are rare but preferable.1. The thesis is art history, intended to inform the art practice. The most obvious relation between scholarship and creative work is that the former informs the latter. The artist positions her scholarship so that it supports her art practice. Within this possibility, perhaps the most common option would be to write an art historical thesis, covering the history of practices that lead up to the writer's own practice. Among the advantages would be that, in theory, the candidate would be able to go on to teach in a department of art history. In terms of her practice, the idea would be that historical knowledge strengthens art practice: a debatable point, if only because so many artists have done so well by ignoring or distorting the relevant history. In Canberra in summer 2003, I met a recent PhD whose thesis was on... (shrink)

The article aims to show that the task of grounding categorial constituents in the specific founded acts of perception yields the problem field of phenomenological inquiry, within the framework of which remains Heidegger’s project of fundamental ontology. To achieve this goal the article reconstructs, first, the problem of the possibility of a priori correspondence between meaning and intuition of the intentional act; second, the phenomenological justification of extension of the traditional concept of truth, as a result of which truth characteristic (...) expands to intentional acts structured in a certain way, namely acts of total agreement between meaning and intuition (identification acts); third, the problem of the “categorial” in the phenomenological analysis of perception, which includes the extension of the concept of perception, limited in transcendental philosophy to the area of sensible intuitions, and justification of the specific categorial acts. On this basis, the article demonstrates that (1) phenomenology in a certain sense continues the project of transcendental philosophy, but the idea of a priori correspondence between notion and intuition within the framework of structural analysis of intentionality forms a new research problem. (2) The phenomenological understanding of truth in terms of the dynamics of empty and filled meaning intention is significant for the concept of truth presented by Heidegger in Being and Time. Heidegger explicates the concept of the truth in fundamental ontology based on the idea of identification. (3) The extension of the concept of object to its categorial constitution justified by Husserl provides fundamental ontology with the research subject. Heidegger interprets the categories, phenomenally represented in acts of categorial intuition, as a priori structures of the being of beings. The study also ascertains that new concepts of Husserl’s phenomenology saturate the conceptual framework of fundamental ontology. However, Heidegger also rethinks the key concepts of phenomenology in accordance with objectives which are different from the original objectives of the project of phenomenology designed by Husserl. (shrink)

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

The author suggests to view the architectural planning of the human environment as „directing” the phenomena and events that occur in human surroundings. In her reflections on human existence she juxtaposes the concepts “environment” and “space”, which both accentuate different aspects of the human environment. The author views “environment” as the objective existence of human surroundings, and “space” as the effect of environmental envisionment and experiencing the environment by means of rationality and valuation.The author also focuses on interactions between the (...) paradigm of thought and the paradigm of the order which humans bring into the space they design, and describes related examples. She notes that the links between architecture and the “how” and “what” of our thinking are visible not only in accounts of bygone eras, but also in the influence on architecture of two contemporary thought trends—post-modernism and ecologism. She goes on to suggest that ecological architecture should be understood as spatial design patterned on the structure of eco-systems. Thus understood, ecological architecture is neither structuralistic, nor “atomic”, nor collectivistic. The author also sees the difference between post-modern and ecological architecture in the ability of making use of the opportunities provided by difference. (shrink)

Fincher & Thornhill's (F&T's) parasite-stress theory of sociality is supported largely by correlational evidence; its persuasiveness would increase significantly via lab and natural experiments and demonstrations of its mediating role. How the theory is linked to other approaches to group differences in psychological differences and to production and dissemination of cultural ideas and practices, need further clarification. So does the theory's view on the possible reduction of negative group interactions.

This paper explores the status of causation in structuralist metaphysics of physics. What role (if any) does causation play in understanding ‘structure’ in ontological structural realism? I address this question by examining, in a structuralist setting, arguments for and against the idea that fundamental physics deals, perhaps exclusively, with causal properties. I will argue (against Esfeld, Dorato and others) that a structuralist interpretation of fundamental physics should diverge from ‘causal structuralism’. Nevertheless, causation outside fundamental physics, and the basic motivation for (...) causal structuralism outside fundamental physics, can be captured with an appropriate conception of causation. (shrink)

I consider the idea of a structure of fundamental physical particles being causal. Causation is traditionally thought of as involving relations between entities—objects or events—that cause and are affected. On structuralist interpretations, however, it is unclear whether or how precisely fundamental particles can be causally efficacious. On some interpretations, only relations exist; on others, particles are ontologically dependent on their relations in ways that problematize the traditional picture. I argue that thinking about causal efficacy in this context generates an inevitable (...) pattern of reasoning. To assess the cogency of a given structuralist proposal one must take a stand with respect to a significant metaphysical challenge. Two options then emerge: skepticism about the form of structuralism at issue; or a dissolution of the challenge by means of a contentious ontological primitive. I contend that the choice between these options cannot be forced on scientific or philosophical grounds alone. (shrink)

This work is an examination of the metaphysical presuppositions involved in the science of organic form. Taking the dichotomy of structuralism versus functionalism in nineteenth century biology as the central subject of my study, I explore a network of unquestioned premises and isolate areas where empirical research programs and underlying metaphysical commitments both inform and hinder each other. ;I begin with the Cuvier-Geoffroy debate of 1830--a debate that clearly articulates the tensions between structuralist and functionalist approaches to organic form. On (...) the side of functionalism, I am led to confront the rich concept of teleological causality. The concept of teleology, frequently taken to be semantically univocal, in fact unfolds into a cluster of related notions. I begin to demarcate significant differences between "intentional," "heuristic," "cosmic," and "organismic" teleology. On the side of structuralism, I set out to unearth the presuppositions of materialist versus idealist conceptions of structure--showing where naturalists have been both liberated and enslaved by their respective metaphysical commitments. With the basic divisions between structuralist and functionalist drawn, I set out to trace the dichotomy through the paradigm shift from fixism to transformism. ;In Darwin's system the structural/functional tensions become synthesized into complementary principles of causality. Here I explore the underlying presuppositional shifts which enabled Darwin to harmonize the previously intractable oppositions. These shifts include: rethinking teleology without "design," rethinking the archetype as real progenitor, and adopting a pluralistic perspective regarding causal mechanisms. ;The relative success of Darwin's appropriation of structuralism and functionalism leads to a discussion of the dichotomous character of the central subject itself. I argue that at the root of the dichotomous characterization of structure and function lies an impoverished understanding of teleology. I then offer "organicist" teleology as a powerful alternative to the French-Anglo tradition of "intentional" teleology. Presupposing the alternative teleology forms a challenge to the way in which French-Anglo naturalists have understood structural and functional relations. Together with Darwin's causal pluralism, a richer notion of teleology provides a different set of metaphysical assumptions and leads to an alternative model for empirical research programs. (shrink)

Originally published in 1963, this classic book is a rethinking of the history of Western political philosophy. Charles N. R. McCoy contrasts classical-medieval principles against the "hypotheses" at the root of modern liberalism and modern conservativism. In Part I, "The Classical Christian Tradition from Plato to Aquinas," the author lays the foundation for a philosophical "structure" capable of producing "constitutional liberty." Part II, "The Modern Theory of Politics from Machiavelli to Marx," attempts to show, beginning with Machiavelli, the reversal (...) and destruction of the pre-modern "structure" postulated in Part I. McCoy stresses the great contributions of Aristotle to political thought found in his more familiar Ethics and Politics, but also includes key insights drawn from Metaphysics and Physics. These contributions are developed and perfected, McCoy argues, by Augustine and Aquinas. Two other important features include McCoy's epistemological insights into Plato's work that will be new to many readers and the author's juxtaposition of traditional natural law with "the modernized theory of natural law." The modern account of autonomous natural law, in McCoy's view, helps explain the totalitarian direction of key aspects of modern political thought. This classic volume on the origins of modern philosophical thought remains a standard in the field. (shrink)

My own contribution relates to twentieth-century literature, where "spatialization" enters so fundamentally into the very structure of language and the organization of narrative units that, as [Frank] Kermode is forced to concede, "Frank says quite rightly that a good deal of modern literature is designed to be apprehended thus." His deals with the literature of the past, where "spatialization" was still the tendency which had by no means yet emerged in as radical a manner as in modernity. Both may be (...) seen, and should be seen, as part of a unified theory which has the inestimable advantage of linking experimental modernism with the past in an unbroken continuity, and in viewing the present, not as a break, but rather as a limit-case, an intensification and accentuation of potentialities present in literature almost from the start. One of Kermode's essential aims, in The Sense of an Ending, was precisely to argue in favor of continuity and to reject the schismatic notion that a clean break with the past was either desirable or possible. It seems to me that he succeeded better than he knew, and that in polemicizing with spatial form" he merely perpetuates a schism which the deeper thrust of his own ideas has done much to reveal as nugatory and obsolete. Joseph Frank is professor of comparative literature and director of the Christian Gauss seminars in criticism at Princeton University. His many important contributions include The Widening Gyre: Crisis and Mastery in Modern Literature and Dostoevsky: The Seeds of Revolt, 1821-1849, for which he received the James Russell Lowell Prize of the MLA. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The idea this article relies on is that we should rethink cultural distance between modernism and post-modernism. We can no longer support the thesis of a radical break between the two cultural periods since many of the changes that have marked our contemporary world were initiated or at least announced in the modern period. Besides the cultural and epistemic factors, the socioeconomic conditions have also contributed to shape a new sensitivity and a new outlook. One of the major contributions to (...) this change was the replacement of the epistemic pedestal - oriented toward the metaphysical knowledge of the world - with a kind of knowledge inspired by the model of sciences which determined the understanding of the world as a „standing-reserve" (Heidegger). Thus, we speak about a techno-world, which is not merely a consequence of our way of interacting with our fellow beings or the environment. It is also a consequence of our wayof creating reality. The post-humanist approach of the man - similarly to modern utopias - considers technology the main means of improving human condition. Furthermore, we need to see in post-humanism the hope of rethinking humanity in a world growingly devoid of spiritual values. (shrink)