In this paper I test major analytic theories of interpretation, including anti-intentionalism, the value-maximizing theory, actual intentionalism, and hypothetical intentionalism, against Li Shang-yin’s poem ‘The Ornamented Zither’. I argue that, based on the results of the test, all of these theories face grave difficulties. If their supporters want their accounts to be sustained in the debate over interpretation, they need to address the worries I raise.

The venerable cities of the past, such as Venice or Amsterdam, convey a feeling of wholeness, an organic unity that surfaces in every detail, large and small, in restaurants, shops, public gardens, even in balconies and ornaments. But this sense of wholeness is lacking in modern urban design, with architects absorbed in problems of individual structures, and city planners preoccupied with local ordinances, it is almost impossible to achieve. In this groundbreaking volume, architect and planner Christopher Alexander presents a new (...) theory of urban design which attempts to recapture the process by which cities develop organically. To discover the kinds of laws needed to create a growing whole in a city, Alexander proposes here a preliminary set of seven rules which embody the process at a practical level and which are consistent with the day-to-day demands of urban development. He then puts these rules to the test, setting out with a number of his graduate students to simulate the urban redesign of a high-density part of San Francisco, initiating a project that encompassed some ninety different design problems, including warehouses, hotels, fishing piers, a music hall, and a public square. This extensive experiment is documented project by project, with detailed discussion of how each project satisfied the seven rules, accompanied by floorplans, elevations, street grids, axonometric diagrams and photographs of the scaled-down model which clearly illustrate the discussion. A New Theory of Urban Design provides an entirely new theoretical framework for the discussion of urban problems, one that goes far to remedy the defects which cities have today. (shrink)

Both male ornamentation and male combat result in increased male mortality. Because population sizes are limited by a carrying capacity, increased age-specific adult male mortality will result in decreased age-specific adult female mortality, as well as decreased juvenile mortality. As intersexual competition is one form of intraspecific competition, through choosing to mate with ornamented and/or combative males, females in polygamous systems reduce intraspecific competition. Because average male fitness must exactly equal average female fitness, male fitness will paradoxically rise with increasing (...) male mortality. This theory also offers new perspectives on peripheral problems to sexual theory, such as mate location, resource guarding, leks, harems, and others. (shrink)

What is colour vision for? In the popular imagination colour vision is for “seeing the colours” — adding hue to the achromatic world of shape, depth and motion. On this view colour vision plays little more than an ornamental role, lending glamour to an otherwise monochrome world. This idea has guided much theorising about colour within vision science and philosophy. However, we argue that a broader approach is needed. Recent research in the psychology of colour demonstrates that colour vision is (...) integral to a variety of visual processes, helping us to perform many types of visual tasks. We discuss some of this research and consider its implications for philosophical theories of colour. (shrink)

While the “symbolic” meaning of early body ornamentation has received the lion’s share of attention in the debate on human origins, this paper sets out to explore their aesthetic and agentive dimensions, for the purpose of explaining how various ornamental forms would have led interacting groups to form a cultural identity of their own. To this end, semiotics is integrated with a new paradigm in the archaeology of mind, known as the theory of material engagement. Bridging specifically Peirce’s pragmatic (...) theory and Malafouris’ enactive take on aesthetics allows us to appreciate the formation of aesthetic ideals through the agentive effects of material signs. It is thus proposed that, by attending to the interrelation between form, effect, and affect, members of social groups would have come to appreciate the ways in which their ornamental culture resembles and differs from that of neighbouring groups. Following the Lund conception of cultural semiotics, I argue that models of Ego-culture would have come to evolve along Alter-cultures that also employ ornaments, and against Alius-cultures that have yet to develop or adopt personal decoration. The aesthetic ideals associated with early body ornaments must have therefore played a catalytic role in the formation and communication of group membership. I thus close by proposing that the origins of new cultural identities can be explained by tracing the co-development of ideas and ideals. (shrink)

Ornamentality is pervasive in the new media and it is related to their essential characteristics: dispersal, hypertextuality, interactivity, digitality and virtuality. I utilize Kendall Walton's theory of ornamentality in order to construe a puzzle pertaining to the new media. the ornamental erosion of information. I argue that insofar as we use the new media as conduits of real life, the excessive density of ornamental devices which is prevalent in certain new media environments, forces us to conduct our inquiries under (...) conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship we, the users, have to the propositional content mediated. I suggest that this puzzle calls upon us to consider what would be a viable logic of virtual discovery. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Time and History in Alois Riegl's Theory of PerceptionMichael GubserIn an early essay, the Austrian art historian Alois Riegl (1858–1905), a pioneer of the modern discipline of art history, linked the creation of the zodiac images in calendar art to the designation of constellations in the heavens.1 Ancient calendar artists observed the motion of stars across the night sky and attempted to map them into recognizable patterns representing (...) specific temporal periods. Their efforts inscribed the cyclical temporality of the heavens into the images of the ancient calendar. This inherent temporality came to characterize all art forms in Riegl's work; his choice of calendar art as his earliest research topic heralded a career-long interest in the connection between temporality and artistic form. Art objects, he believed, were temporal as well as spatial. Just as the light from constellations reflected a deep history, artworks illuminated the passage of time by visually re-presenting the perceptual world of past eras.Riegl's work has garnered attention in recent decades among art historians and non–art historians alike. This interest is due in part to the renewed concern for disciplinary origins that art history, like other fields, has experienced in the wake of poststructuralist critiques. Scholars outside of art history have taken note of his work because of its broad scope and relevance for the study of historiography and perception; Riegl's work provides models for linking the analysis of specific artworks with a history of perception, exploring the relationship between monuments and memory, and analyzing the nature of visual modernity. Interest in Riegl also stems from his acknowledged impact on such preeminent philosophers and historical theorists as Erwin Panofsky, Paul Feyerabend, Gilles Deleuze, Fèlix Guattari, and above all Walter [End Page 451] Benjamin.2 Figures as varied as Georg Lukács, Karl Mannheim, Walter Gropius, and Mikhail Bakhtin have cited his work favorably.3 Riegl is perhaps best known for his attempts to dismantle the hierarchy of high and low art, his attack on the preeminence of classical aesthetic ideals, and his effort to construct a universal history of style. The combination of these commitments led him to consider European and non-European craft genres that fell outside conventional definitions of art. In books such as Problems of Style, Late Roman Art Industry, and The Group Portraiture of Holland, Riegl examined the high arts, decorative arts, and manufactured artifacts alike, gleaning insights into the structure of an era's perception from close descriptive analyses of its artwork.4 In Problems of Style, Riegl traced the development of ancient vegetal decorative motifs toward their fulfillment in the naturalized tendrils and acanthus leaves of Greek ornament. A single, universal development encompassed seemingly distinct motivic forms, and creative innovation was driven by an inner formal logic. Similarly, Late Roman Art Industry, the [End Page 452] epoch-making work that Walter Benjamin described as a revolution in art historical method,5 traced the gradual development of space as an object of artistic concern in the late Roman Empire. In this volume, Riegl explored his controversial notion of the Kunstwollen, or artistic will, which asserted art's autonomy on the basis of a formal creative volition internal to artworks.6 Finally, The Group Portraiture of Holland documented the emergence and decline of a "typically Hollandish painting" emphasizing space and attention.7Riegl scholars have frequently attempted to situate his art history within a variety of philosophical traditions, an effort complicated by Riegl's limited citation of sources. Several scholars have linked Riegl's historical vision with the embattled tradition of Hegelian philosophy. Riegl's teleology; his stress on the unified, internal, and purposive development of art; his notion of art as mind overcoming material; and even his emphasis on the role of the viewer in art all have a distinctly Hegelian resonance. Wolfgang Kemp fits Riegl squarely within a late-nineteenth-century Hegelian revival,8 Michael Podro incorporates him within a Hegelian critical tradition of art history that spanned the nineteenth and early twentieth centuries,9 and Michael Ann Holly posits a clear trajectory, linking Kant and Hegel with Riegl and Panofsky.10Others, however, just as firmly reject this... (shrink)

In Indian knowledge traditions, Vyākaraṇa describes the rules for the formation (prakṛti-pratyaya-vibhāga) and use of correct words (sādhuśabda). The Vākya (sentence) is postulated as the primary unit of communication. “śābdabodha” deals with the cognition of sentential meaning. Similarly, in Indian music, every rāga has a lexicon and grammar (rāga-lakṣaṇa): a rāga only allows some notes and not others, and it has rules for constructing phrases—notes to be highlighted, notes to end phrases on, ornamentation, etc. These phrases of the rāga are (...) comparable to “vākya” which when presented with due regard to certain other considerations generate an apprehension of the rāga (rāgabodha). During presentation of a rāga, an artist aims to evoke the rāga-cchāyā or rāga-svarūpa and also an emotive state in the listener. There is a cognitive aspect to the informed listening of a rāga that is parallel to linguistic communication. We seek to understand how these parallels work between śābdabodha and rāgabodha. We postulate that the conditions of expectancy (ākāṅkśā), logical consistency (yogyatā) and proximity (sannidhi) in combination with the theory of sphoṭa provide a framework to explain how a rāga is expounded and cognised. (shrink)

Interdisciplinarity is one of the features of modern science, defined as blurring the boundaries of disciplines and overcoming their limitations or excessive specialization by borrowing methods from one discipline into another, integrating different theoretical assumptions, and using the same concepts and terms. Often, theoretical knowledge of one discipline and technological advances of another are combined within an interdisciplinary science, and new branches or disciplines may also emerge. Biosemiotics, a field that arose at the crossroads of biology, semiotics, linguistics, and philosophy, (...) enables scientists to borrow theoretical assumptions from semiotics and extend them to different biological theories. The latter applies especially to extended synthesis, wherein culture is viewed as one of the factors influencing evolution. In the present research, the semiotic system of Ukrainian folk ornament is analyzed through the theory of fractals, key features of which are recursion and self-similarity. As a result, an assumption is made about the fractal structure of culture and social life on a conceptual level. What follows is a discussion of how this assumption can contribute to the multilevel selection theory, one of the foundations of extended synthesis, which employs the concept of self-similarity at all levels of the biological hierarchy. (shrink)

This paper deals with the treatment of figures of speech in Perelman’s and Olbrechts-Tyteca’s Treatise on Argumentation (TA), and, more broadly, with the place of figures in argumentation theory. The contrast between two conceptions (or two domains)\n of rhetoric, “a rhetoric of figures” and “a rhetoric of argument” can be traced back to Ramus, and it has been revived in\n the seventies through the perception of an incommensurability between Perelman’s “New Rhetoric” and the École de Liège’s “General\n Rhetoric”. Modern (...) theories of argumentation, oriented towards the characterization and denunciation of fallacious discourse,\n emphasize the gap between sound argumentative discourse and rhetorical discourse seen as a “powerful instrument of error and\n deceit” (Locke). This concept of argument presupposes a vision of language as ideal/transparent—a revised language that is\n not the language of ordinary argumentation. Figures are not basically “decorative”; they are manifestations of the complex\n process of language structuring in speech. Thus rejecting figures amounts to a negation of discourse as such. The second section\n turns to a somewhat neglected aspect of the TA, its both decisive and somewhat cavalier theory of figures of speech, and its extended use and re-definition of a complex set of figures. We argue that the TA, in its quest for descriptive adequacy, breaks with the traditional and comfortable concept of figures as useless fallacious\n “ornaments” and provides us with the first description of what could be characterized as the semantic level of ordinary argumentative\n discourse. This will be shown on the case of “figures of choice, presence and communion”, and could be extended to the discursive\n construction of objects and participants, including the speaker and her emotions. (shrink)

Aristotle's Poetics has come down to us in a form that is fragmented and incomplete. For example, its famous definition of tragedy begins by stating that it is a summation of what has come before:Let us now discuss Tragedy, resuming its formal definition, as resulting from what has been already said. Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds (...) being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.1But nothing has been said previously about the purgation of pity and fear.... (shrink)

The documented appearance of body ornaments in the archaeological record of early anatomically modern human and late Neanderthal populations has been claimed to be proof of symbolism and cognitive modernity. Recently, Henshilwood and Dubreuil (Current Anthropology 52:361–400, 2011) have supported this stance by arguing that the use of beads and body painting implies the presence of properties typical of modern cognition: high-level theory of mind and awareness of abstract social standards. In this paper I shall disagree with this position. (...) For the purposes of the argument, body ornaments are divided in three categories: aesthetic, indexical and fully-symbolic, on the basis of the necessary and sufficient conditions to construct meaning for each category. As previously acknowledged by a number of authors, I will argue that the abilities considered by Henshilwood & Dubreuil necessarily apply only to fully symbolic ornaments and they do not extend to the aesthetic and indexical categories. Indeed, a series of situated strategies can be sufficient to process non-symbolic categories of ornaments, through their phases of initiation, understanding and maintenance. Since these strategies could be implemented also by non-modern cognitive architectures, it is concluded that early body ornaments are currently unable to support cognitive equivalence between primitive and modern human populations. (shrink)

In this paper I suggest that, over and above the need to explore and understand the technological newness of computer art works, there is a need to address the aesthetic significance of the changes and effects that such technological newness brings about, considering the whole environmental transaction pertaining to new media, including what they can or do offer and what users do or can do with such offerings, and how this whole package is integrated into our living spaces and activities. (...) I argue that, given the primacy of computer-based interaction in the new-media, the notion of ‘ornamentality’ indicates the ground-floor aesthetics of new-media environments. I locate ornamentality not only in the logically constitutive principles of the new-media (hypertextuality and interactivity) but also in their multiform cultural embodiments (decoration as cultural interface). I utilize Kendall Walton’s theory of ornamentality in order to construe a puzzle pertaining to the ornamental erosion of information in new-media environments. I argue that insofar as we consider new-media to be conduits of ‘real-life’, the excessive density of ornamental devices prevalent in certain new-media environments forces us to conduct our inquiries under conditions of neustic uncertainty, that is, uncertainty concerning the kind of relationship that we, the users, have to the propositional content mediated. I conclude that this puzzle calls our attention to a peculiar interrogatory complexity inherent in any game of knowledge-seeking conducted across the infosphere, which is not restricted to the simplest form of data retrieval, especially in mixed-reality environments and when the knowledge sought is embodied mimetically. (shrink)

The Issues at Issue: Heidegger declares metaphor to be a function of metaphysics. Ricoeur's tension theory of metaphor takes the understanding of metaphor beyond metaphysics. Ricoeur's theory of metaphor is a theory of metaphorical statement not of naming. The classical, lexical theory of metaphor focuses on a primary meaning of each metaphor. As such metaphor is merely ornamentation in language. What it names could more appropriately be accomplished in literal language. In contrast, metaphor is understood by (...) Ricoeur to be a semantic event made possible by three kinds of tensions. One may understand symbols to function with the same metaphorical tensions. In the case of symbols, however, these tensions function not at the level of the sentence but rather of the narrative. Metaphor and symbol both have an ‘ontological priority’ over other elements of discourse and experience. They ‘work’ because of the event character of both understanding and experience. Understanding and experience have event as their condition of possibility. Metaphor and symbol both have a ‘temporal priority’, as well, for they serve as the shock to think ‘more’. This can occur, however, because they are part of a circularity that is non-metaphysical, that is, the circularity of the event character of the Being-of beings. Hence, just as metaphors are always ‘larger’ than the sentence, so are symbols always ‘larger’ than the narrative. (shrink)

While ornament during the period of modernism was much maligned as inessential, superficial, deceptive and irrational, it has been rehabilitated by a number of feminist theorists in recent times such as Norma Broude and Naomi Schor. In their defence of ornament, these theorists have exposed the derogation of the feminine implicit in the devaluation of ornament, which has traditionally been conceived as a feminine domain. Yet this feminist espousal of ornament largely fails to challenge the modernist (...) conception of ornament as decorative embellishment devoid of meaning, differing from it only by giving ornament a positive rather than a negative valuation. Consequently, its defence of ornament as a re-assertion of the legitimacy of the feminine ultimately perpetuates rather than undermines stereotypical associations of the feminine with the sensuous, the superficial and the irrational. A more thoroughgoing challenge would question the way in which ornament was defined during the period of modernism, recognizing its role as a carrier of meaning. (shrink)

Humans are neophile, curious, and explorative animals with impressive capabilities for creative problem-solving. I discuss some of the ultimate roots behind human creativity while reviewing two books on creativity and problem-solving. To E. O. Wilson, the driv­ing force behind creativity is our instinctive love of novelty, and creativity’s ultimate goal is “self-understanding.” I elaborate on and question this assumption. The theories of inclu­sive fitness and group selection are discussed, with Wilson in favor of the latter. Finally, the theory of (...) gene-culture coevolution is introduced as fundamental to the unity of science and the humanities and to closing the gap between these two cultures. Eagleman and Brandt’s volume is more of an entertaining history of design and human inventiveness than a study in creativity as such. We hear about the three main operations of creative process: bending, blending, and breaking, and these operations are the primary means by which all ideas evolve, according to the authors. (shrink)

The article seeks to develop a new conceptual framework suitable for analysing the ageing processes of objects in modern culture. The basic intuition is that object experience cannot be analysed separately from collective participation. The article focuses on the question of the ‘timeless’ nature of modernist design and seeks to understand why modernist objects age more slowly than other objects. First, inspired by the late Durkheim’s account of symbolism, I turn to the experiential effects of collective embeddedness. Second, I enter (...) the field of architectural practices and architectural theory. Visiting early modernist ideologue Adolf Loos, I seek to understand the modernist attitude as a direct response to experiences of the acceleration of ageing processes characteristic of modern culture. I then try to show how Loos’s explicit awareness of the collective dimension is ignored by the subsequent modernist movement and by architectural theory. Finally, I try to assess the consequences of this neglect. (shrink)

In the domain of evolutionary cognitive archaeology, the early body ornaments from the Middle Stone Age/Palaeolithic are generally treated as mere by-products of an evolved brain-bound cognitive architecture selected to cope with looming social problems. Such adaptive artefacts are therefore taken to have been but passive means of broadcasting a priori envisaged meanings, essentially playing a neutral role for the human mind. In contrast to this epiphenomenalist view of material culture, postphenomenology and the Material Engagement Theory have been making (...) a case for the active role of artefacts on the count that they can actually shape and restructure the human mind. By bringing these dissenting voices together, the paper at hand employs an enactive way of thinking in order to challenge the epiphenomenalist take on early body ornaments. In fact, two variants of enactivism are presented, each advancing a unique explanation of how the engagement of early humans with body ornaments transformed their minds along the two postphenomenological categories of embodied and hermeneutic cognition. Our theoretical frameworks specifically seek to explore how early beadworks could have scaffolded the creation of semiotic categories and the development of cognitive processes. Despite relying on inherently different premises, both theories suggest that beads fostered the emergence of an epistemic apparatus which thoroughly transformed the way humans engaged with the world. Having concurred on the ornaments’ transformative effects, we ultimately conclude that the epiphenomenalist paradigm best be replaced with an enactive approach grounded on the dictates of postphenomenology and the MET. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous commentators (...) refer to as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)

Feminine beauty was implicated in colonial ways of seeing Indigenous peoples. The Australian ‘Native Belle’, as the feminine type of the noble savage, caught the European imagination at the time that European women such as Mary Wollstonecraft inaugurated a critique of feminine beauty as enslaving. Representations of the native belle were disseminated through new forms of communication and were implicated in prevailing discourses of Indigenous peoples such as ethnology. The native belle demonstrates a European longing for feminine beauty that was (...) natural and unaffected. This type also demonstrates that ideas of visual identity as manifest in feminine beauty were important descriptors of racial difference. (shrink)

The fitness of a eukaryote hinges on the coordinated function of the products of its nuclear and mitochondrial genomes in achieving oxidative phosphorylation. I propose that sexual selection plays a key role in the maintenance of mitonuclear coadaptation across generations because it enables pre-zygotic sorting for coadapted mitonuclear genotypes. At each new generation, sexual reproduction creates new combinations of nuclear and mitochondrial genes, and the potential arises for mitonuclear incompatibilities and reduced fitness. In reviewing the literature, I hypothesize that individuals (...) engaged in mate choice select partners with correct species-typical mitochondrial and nuclear genotypes as well as individuals with highly functional cellular respiration. The implication is that mate choice for compatible nuclear and mitochondrial genes can play a significant role in generating the patterns of ornamentation and preferences observed in animals. A number of testable predictions emerge from this mitonuclear compatibility hypothesis of sexual selection. Products of mitochondrial and nuclear genes co-function to enable cellular respiration, so it is critical that compatible mitochondrial and nuclear genes be matched each generation. I propose that a core function of mate choice is selection for mitochondrial and nuclear genes that create compatible and functional combinations in offspring. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Instinct of Nature: Natural Law, Synderesis, and the Moral SenseRobert A. Greene“Instinct is a great matter.”—Sir John FalstaffThis essay traces the evolution of the meaning of the expression instinctus naturae in the discussion of the natural law from Justinian’s Digest through its association with synderesis to Francis Hutcheson’s theory of the moral sense. The introduction of instinctus naturae into Ulpian’s definition of the natural law by Isidore of (...) Seville in the seventh century posed a problem of definition for medieval commentators. Some said that it meant a universal and providential natura naturans; some defined it as the urge to self and species preservation in animals, degenerating in man into sensual and shameful impulses; some advanced the humanistic and paradoxical notion that it referred to a unique exercise of human reason in coming to know the natural law. The contemporaneous revival in the twelfth century of St. Jerome’s puzzling new term “synderesis,” and its gradual definition as the immediate apprehension of the first practical moral principles of the natural law, brought the two terms into proximity and loose association.A half-century later St. Bonaventure made explicit what had remained latent in the thinking of Thomas Aquinas by relocating synderesis in the affective rather than the intellectual part of man’s nature. Accordingly the moral discoveries of synderesis came to be spoken of as not only non-discursive but instinctive in nature—apprehensions for which no reason could be given, apprehensions somehow rooted in affective human experience. During the bilingual early modern period an increasingly secularized, internalized, and reified instinctus [End Page 173] naturae, together with its abbreviated vernacular cognate, “instinct,” came to serve as a substitute and synonym for the obsolescent synderesis. Edward Herbert’s attention to instinctus naturae in his De Veritate (1624), Sir Matthew Hale’s speculations about the place of rational instinct in the natural law, and Francis Hutcheson’s theory of a moral sense all exemplify this semantic legacy.The first entry in Justinian’s Digest has had a disproportionate influence on later speculation about the natural law. It begins a chapter that gives pride of place to general definitions of justice, law, jus naturale and jus gentium, and it is drawn from the writings of the Roman jurisconsult Domitius Ulpianus (d. 223), whose work constitutes forty percent of the Digest. Ulpian defines the natural law, with insistent repetition, as that which nature has taught to, or is common to, all animals:Jus naturale is that which nature has taught to all animals; for it is not a law specific to mankind but is common to all animals—land animals, sea animals, and the birds as well. Out of this comes the union of man and woman [male and female] which we call marriage, and the procreation of children, and their rearing. So we can see that the other animals, wild beasts included, are rightly understood to be acquainted with this law. Jus gentium, the law of the nations, is that which all human peoples observe. That it is not coextensive with natural law can be grasped easily, since this latter is common to all animals whereas jus gentium is common only to human beings among themselves. 1Justinian’s compilers gave Ulpian’s definition striking prominence at the beginning of the Digest and then in the same short chapter quoted the incompatible and more traditional definitions of his contemporaries Gaius and Paulus. They confined the operation of the natural law to mankind and spoke of reason as its source. 2 The compilers had been charged to eliminate just such conflicts; yet here at the very outset they set a conundrum that perplexed commentators [End Page 174] and invited explanation from Isidore of Seville to Hugo Grotius. Their selection of quotations suggests that as lawyers they regarded such general definitions as “for legal purposes no more than ornament to discussion.” 3 For those of a more speculative bent, however, the dilemmas could not have been more fundamental. How was the natural law to be defined in relation to those appetitive and self-preservative urges that man seemed to share with animals? Or did the term law apply only... (shrink)

This paper pursues Ernan McMullin‘s claim ("Virtues of a Good Theory" and related papers on theory-choice) that talk of theory virtues exposes a fault-line in philosophy of science separating "very different visions" of scientific theorizing. It argues that connections between theory virtues and virtue epistemology are substantive rather than ornamental, since both address underdetermination problems in science, helping us to understand the objectivity of theory choice and more specifically what I term the ampliative adequacy of (...) scientific theories. The paper argues therefore that virtue epistemologies can make substantial contributions to the epistemology and methodology of the sciences, helping to bridge the gulf between realists and anti-realists, and to re-enforce moderation over claims about the implications of underdetermination problems for scientific inquiry. It finally makes and develops the suggestion that virtue epistemologies, at least of the kind developed here, offer support to the position that philosophers of science know as normative naturalism. (shrink)

The Weimar-Republic, and the modernist architecture and planning that was born there, is still a contested place, from whence liberals, reactionaries and Marxists can all trace their lineage. Sabine Hake’s Topographies of Class attempts to clarify this contestation, through an interdisciplinary study of the modernist geography of the interwar-capital, Berlin. The book offers many new insights into the Weimar-era city, countering a tendency on the Left to reject the twentieth-century city in favour of the romanticised ‘capitals of the nineteenth century’, (...) with their insurgent proletariat and their lushly ornamented boulevards. Topographies of Class is a reminder that, irrespective of the era’s rejection of ornament and romanticism, it was a site of class-struggle as intense as that of the Paris of the 1870s. However, Hake’s study is dominated by a conception of class as an ‘identity’, akin to the identity-politics of race or gender, leading to an argument centred on the suppression or expression of ‘class-difference’ rather than class-struggle. In the process, her reading of the city’s modernism becomes overly one-sided, as a period of tension between labour and capital is read, under the influence of Manfredo Tafuri and Italian post-Marxist architectural theory, as being governed almost solely by the logic of Fordist capital. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Perloff’s Wittgenstein: W(h)ither Poetic Theory?David Kellogg (bio)Though Marjorie Perloff has been one of the most powerful forces in contemporary poetry studies for some time, her work has not received the critical attention it warrants. Her latest book, Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary, provides an opportunity for reflection on a body of writing remarkable both in its consistency and its constant reinvention. Indeed, reading (...) Perloff through Wittgenstein’s Ladder throws her other work over the last twenty years into a new light, as many concepts crucial to her vocabulary—not only theory but also modernism, artifice, avant-garde—are here turned around and forced into new roles. To ask whether and to what extent Wittgenstein’s Ladder constitutes a break in her career is simultaneously to raise the question of critical and poetic theory.Theory Inside and Out“It is in this sense that grammar may be said to replace theory,” writes Marjorie Perloff in the introduction to Wittgenstein’s Ladder [18]. The sense in question is Ludwig Wittgenstein’s, or rather the sense of the late (post-1929) Wittgenstein inflected through Perloff’s post-poststructuralist sensibility. As the sentence preceding this remarkable claim puts it: “For although the later Wittgenstein was to argue that grammar is precisely the key to understanding a given proposition, that there is no essence above and beyond a specific grammatical structure, one nevertheless must ‘distrust’ grammar in the sense of interrogating it as stringently as possible” [17–18].Of course, formulations of theory as a style of distrust have been a commonplace in theoretical discourse for some time. It would not be difficult to argue that Perloff’s explicit advocacy of grammar through Wittgenstein—whose philosophy, she argues, “is indeed intentionally ‘antiphilosophical,’ its purpose being precisely to determine in what circumstances philosophy should be ‘against’ philosophy and why” [12]—is of a piece with recent attempts to think the limits of theory in theory itself. But such a reduction would seriously misread Perloff’s project. We would do well to question, for example, the obvious similarities between Perloff’s description of a duplicity in the project of grammar/theory and the model it might be taken as at once pointedly evoking and evading, Paul de Man’s now-classic essay “The Resistance to Theory.” Despite their apparent similarities, the startling claims of Wittgenstein’s Ladder have little in common with de Man’s suggestion that “resistance may be a built-in constituent of [theoretical] discourse,” and that “the polemical opposition, the systematic non-understanding and misrepresentation, the unsubstantial but eternally recurrent objections, are the displaced symptoms of a resistance inherent in the theoretical enterprise itself” [12].For one thing, de Man explicitly distances his conception of a theoretical project deeply threatening to the claims of knowledge from one rooted in concepts of grammar: [End Page 67][A]s long as it remains grounded in grammar, any theory of language, includ-ing a literary one, does not threaten what we hold to be the underlying principle of all cognitive and aesthetic linguistic systems. Grammar stands in the service of logic which, in turn, allows for the passage to the knowledge of the world. The study of grammar, the first of the artes liberales, is the necessary pre-condition for scientific and humanistic knowledge. As long as it leaves this principle intact, there is nothing threatening about literary theory. The continuity between theory and phenomenalism is asserted and preserved by the system itself. Difficulties occur only when it is no longer possible to ignore the epistemological thrust of the rhetorical dimension of discourse, that is, when it is no longer possible to keep it in its place as a mere adjunct, a mere ornament within the semantic function.[14; emphasis added]In other words, de Man places grammar opposite the project of criticism, which he identifies with rhetoric and ultimately with reading. What de Man refers to as “the latent tension between rhetoric and grammar” is resolved decidedly in favor of the former: “the grammatical decoding of a text leaves a residue of indetermination that has to be, but cannot be, resolved by grammatical means, however... (shrink)

… Pound’s Imagist economy often mixes metaphors of capitalization with metaphors of expenditure. Words, he writes in an early essay, are like cones filled with energy, laden with the accumulated “power of tradition.” When correctly juxtaposed, these words “radiate” or “discharge” or spend this energy , just as the Image releases “an intellectual and emotional complex in an instant of time” . The precise relation of accumulation to expenditure in Pound’s Imagism is never really elaborated. For clarification one would probably (...) have to look toward his theories of sexuality, which hint at a proportion between spermatic retention and intensity of ejaculation. “The liquid solution [of sperm and/or thought],” he writes in his 1921 “Postscript” to Gourmont’s Natural Philosophy of Love, “must be kept at right consistency; one would say the due proportion of liquid to viscous particles, a good circulation; the actual quality of the sieve or separator, counting perhaps most of all; the balance of ejector and retentive media” .13 Similar physiological metaphors will shape Pound’s later economic writings of the thirties and forties. Money will function as a kind of “sieve” or “separator” , and usury will be described as malevolent form of retention, an “obstruction” to the proper circulation of money and goods. Economic justice will therefore involve the institution of a correct “balance” or “measure” between accumulation and expenditure, between “ejector” and “retentive media.” From Pound’s later Confucian perspective, excess in either direction—whether it take the form of “smeary hoarding” or extravagant squandering—always leads to evil and disorder.14Excess is of course what Pound’s Imagist economy most militantly seeks to eliminate from contemporary poetry. Pound writes in 1912, “As to Twentieth-century poetry … it will be harder and saner … ‘nearer the bone.’ It will be as much like granite as it can be … It will not try to seem forcible by rhetorical din, and luxurious riot. We will have fewer painted adjectives impeding the shock and stroke of it…. I want it austere, direct, free from emotional slither” . The vocabulary of this passage combines a discernibly American, puritanical suspicion of ornament with a functionalist asceticism that we have come to recognize as a characteristic feature of the international style of high modernism.15 From a postmodernist vantage point, however, we might well question just why the category of excess or surplus represented by “rhetorical din,” “luxurious riot,” or “emotional slither” should be so inevitably construed as negative or uneconomic. Georges Bataille, for one, provides a provocative refutation of this ideology in La Part maudite. The economics he there seeks to define would instead be based on the valorization of excess, or of what he terms “la dépense improductive,” nonproductive expenditure. Bataille’s “economy of excess” turns on “la perte du proper,” that is, the loss of the literal to the figurative, the loss of purity to scatological defilement, and the loss of personal identity to a sacred expropriation by the Other. 13. See also Kevin Oderman’s comments on the importance of delay and deferral to Pound’s troubadour “eroticism of dalliance” in “ ‘Cavalcanti’: That the Body Is Not Evil,” Paideuma 11 : 257-79. If, according to Pound, the “classic aesthetic” involves “plastic to coitus, plastic plus immediate satisfaction,” Cavalcanti’s cult of Amor instead privileges mental reterntion, “the fine thing held in the mind,” that is, erotic or mnemonic capitalization. See LE, pp. 150-53.14. Rabaté, Language, Sexuality, and Ideology, pp. 217-23, similarly links Pound’s “Postscript” to Gourmont to his later economics.15. Herbert Schneidau, Ezra Pound: The Image and the Real , pp. 177-78. Richard Sieburth is associate professor of French at New York University. He is the author of Instigations: Ezra Pound and Remy de Gourmont and translator of Friedrich Hölderlin’s Hymns and Fragments . He is currently preparing an edition of Pound’s writings on France. (shrink)

It has been claimed that Adam Smith, like David Hume, has a ‘reflective endorsement’ account of the authority of morality. On such a view, our moral faculties and notions are justified insofar as they pass reflective scrutiny. But Smith's moral philosophy, unlike Hume's, is also peppered with references to God, to divine law, and to our being ‘set up’ in a specific way so as to best attain what is good and useful for us. This language suggests that there is (...) another strategy available for accounting for the authority of morality, one that would align Smith with teleological accounts of human nature and theological accounts of morality. The authority of Smith's impartial spectator would, on such an account, be derivative – it would be derived from the supreme authority of God. Such a view poses a serious challenge for contemporary interpreters of Smith who seek to read him as an empiricist, naturalist, and sentimentalist moral philosopher. This paper examines the textual evidence for this view, focusing on the role of the explicitly religious language found in a key section of Smith's Theory of Moral Sentiments. I argue that this language should neither be interpreted as merely ornamental, nor as providing a theological justification of morality. Rather, it is part of Smith's illustration of the psychological influence of religious beliefs, especially the beliefs in an all-seeing judge and in a just afterlife where all human actions will be accounted for and appropriately rewarded or punished. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 (...) texts by these and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.1 (2002) 22-49 [Access article in PDF] Kenneth Burke: A Dialogue of Motives Jeffrey W. Murray [Figures] Introduction In "Four Master Tropes," Appendix D of A Grammar of Motives (1969a), Kenneth Burke investigates the tropes of metaphor, metonymy, synecdoche, and irony. His "primary concern with them... [is] not with their purely figurative usage, but with their role in the discovery and description of 'the truth'" (1969a, (...) 503). Burke's placement of "the truth" in quotation marks reflects his rejection of any simplistically objectivist notion of truth. He is not interested in how these rhetorical figures ornament truth, as if truth existed prior to the entrance of rhetoric. Rather, the relationship between these four master tropes and truth is more complicated. Truth is, for Burke, a rhetorical product as much as a rhetorical precursor. Hence, the tropes function not only epistemologically in the discovery of truth, but also ontologically in the very constitution of truth. 1 Burke's subsequent discussion of metaphor, metonymy, synecdoche, and irony illustrates how each trope functions dramatistically to make, and to make known, the world.When Burke discusses the trope of irony, the relationship between rhetoric and truth is further complicated. Irony is dialogical. 2 Whereas metaphor, metonymy, and synecdoche offer particular perspectives for viewing and knowing the world, irony offers a "perspective of perspectives" (1969a, 512). Ultimately, irony depends upon the perspectives of Others—of other symbol users—and is thus an explicitly dialogical rather than rhetorical trope. Moreover, this inclusion of the voices of Others in the construction of "truth" distinguishes irony as ethical. Irony may, in fact, offer the clearest view of Burke's own incipient theory of ethics. Over against his few explicit discussions of ethics, which reflect either an Aristotelian or Kantian approach to ethics, 3 Burke's development of the master trope of irony as a dialogical vehicle for the construction of intersubjective [End Page 22] truth reveals his maturing approach to ethics and a tacit synthesis of his dramatistic accounts of epistemology, ontology, and ethics.Yet another concept is even more foundational for Burke's incipient theory of ethics within a dramatistic framework. Recalcitrance precedes irony as an account of the presencing of otherness in and through language. Prior to the experience of irony as a clash of perspectives, recalcitrance is the very crashing in of the second perspective. It is the resistance that is met by any particular symbolic framing of the world. Together, recalcitrance and irony form the core of Burke's (underdeveloped) dramatistic theory of ethics and constitute the groundwork for his proposed final installment of his trilogy, which might instead be appropriately "A Dialogue of Motives."Using Emmanuel Levinas's phenomenology of the Other and reconception of ethics as the call to responsibility, 4 this article will demonstrate that Burke's notions of recalcitrance and irony are the groundwork for a full dramatistic description of the phenomenological encounter with the Other and of the nature of the ethical encounter. Moreover, this discussion of recalcitrance and irony will be placed in the context of Burke's two major works, A Grammar of Motives (1969a) and A Rhetoric of Motives (1969b), in an attempt to indicate the implicit trajectory of these works toward the third volume of the trilogy, referred to here as "A Dialogue of Motives." 5 The addition of "A Dialogue of Motives" will rectify Burke's lack of emphasis on ethics and upon the Other, and together, Burke's A Grammar of Motives, A Rhetoric of Motives, and "A Dialogue of Motives"will recast traditional philosophy's main branches of ontology, epistemology, and ethics into dramatistic—i.e., grammatical, rhetorical, and dialogical—terms.In addition, this proposed completion of Burke's trilogy provides a unique conception of dialogue that promises to expand and enrich existing conceptions of dialogue within the field of communication studies. Specifically, a dramatistic notion of dialogue bifurcates traditional notions of two-way, dialogical communication into a "rhetoric" of motives that seeks identification and a "dialogue" of motives that maintains difference. To that end, Burke's notion of dialectic will be discussed in order to... (shrink)

This innovative approach to freedom starts from an account of what we mean by describing someone, in a psychological vein, as a free subject. Pettit develops an argument as to what it is that makes someone free in that basic sense; and then goes on to derive the implications of the approach for issues of freedom in political theory. Freedom in the subject is equated with the person's being fit to be held responsible and to be authorized as a (...) partner in interaction. This book is unique among contemporary approaches - although it is true to the spirit of classical writers like Hobbes and Kant - in seeking a theory that applies to psychological issues of free agency and free will as well as to political issues in the theory of the free state and the free constitution. The driving thesis is that it is only by connecting up the different issues of freedom, psychological and political, that we can fully appreciate the nature of the questions involved, and the requirements for their resolution. The book does not not seek a comprehensive reach just for its own sake, but rather for the sake of the illumination it provides._ _ _A Theory of Freedom_ is a ground-breaking volume which will be of wide interest to scholars and students in political philosophy and political science. (shrink)

According to a traditionally infl uential idea metaphors have mostly ornamental value. Current research, on the other hand, stresses the cognitive purposes metaphors serve. According to the Conceptual Theory of Metaphor (CTM, for short), e.g., expressions are commonly used metaphorically in order to conceptualize abstract and mental phenomena. More specifically, proponents of CTM claim that abstract terms are understood by means of metaphors and that metaphor comprehension, in turn, is embodied. In this paper, I will argue that CTM fails (...) on both counts. (shrink)

This essay is divided into two parts. In the first part (§2), I introduce the idea of practical meaning by looking at a certain kind of procedural systems — the motor system — that play a central role in computational explanations of motor behavior. I argue that in order to give a satisfactory account of the content of the representations computed by motor systems (motor commands), we need to appeal to a distinctively practical kind of meaning. Defending the explanatory relevance (...) of semantic properties in a computationalist explanation of motor behavior, my argument concludes that practical meanings play a central role in an adequate psychological theory of motor skill. In the second part of this essay (§3), I generalize and clarify the notion of practical meaning, and I defend the intelligibility of practical meanings against an important objection. (shrink)

The seduction-theory defines film in a broader sense as a medium of seduction, based on the French concept of séduction. It is a theoretical approach influenced by continental philosophy and classical film theory, linked to a three-stage analytical model. The book introduces the theoretical foundations and, using various classical and contemporary examples from film history, presents a genuine method of film analysis.

This paper critically analyses the strongly subjectivist approach to exploitation theory proposed by Matsuo on this journal, in general convex economies with heterogeneous agents. It is proved that the Fundamental Marxian Theorem is not preserved and that no meaningful subjectivist exploitation index can be constructed. A minimal objectivism is necessary in exploitation theory, whereby subjective preferences do not play a direct, definitional role. An objectivist approach related to the ‘New Interpretation’ is proposed which captures the core intuitions of (...) exploitation theory, provides appropriate indices of individual and aggregate exploitation, and preserves the Fundamental Marxian Theorem in general economies. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

Though the revised edition of A Theory of Justice, published in 1999, is the definitive statement of Rawls's view, so much of the extensive literature on Rawls's theory refers to the first edition. This reissue makes the first edition once again available for scholars and serious students of Rawls's work.

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)

Any plausibly just market exchange must balance two conflicting moral considerations: non-worseness (Wertheimer, 1999) and euvoluntariness (true voluntariness; Munger, 2011). We propose an analytical theory of just market exchange that partly resolves this conflict.

This paper provides an introductory review of the theory of judgment aggregation. It introduces the paradoxes of majority voting that originally motivated the field, explains several key results on the impossibility of propositionwise judgment aggregation, presents a pedagogical proof of one of those results, discusses escape routes from the impossibility and relates judgment aggregation to some other salient aggregation problems, such as preference aggregation, abstract aggregation and probability aggregation. The present illustrative rather than exhaustive review is intended to give (...) readers new to the field of judgment aggregation a sense of this rapidly growing research area. (shrink)

Nobel Laureate's brilliant early treatise on Einstein's theory consists of his original 1921 text plus retrospective comments 35 years later.

This book is not a conventional introduction to the philosophy of mind, nor is it a contribution to the physicalist/ dualist debate. Instead The Representational Theory of Mind demonstrates that we can construct physicalist theories of important aspects of our mental life. Its aim is to explain and defend a physicalist theory of intelligence in two parts: the first six chapters consist of an exposition, elaboration and defence of human sentience (the functionalist theory of mind), and the (...) second part considers rivals and objections to this theory. Kim Sterelny aims to introduce people to this area of philosophy by exemplifying it, to show that philosophical and empirical investigations can be synthesized to the benefit of both. --From publisher's description. (shrink)

:Recent attempts to engage and develop modes of ethological practice that avoid deterministic and mechanistic accounts of animal action have often relied on affect as a way of articulating how animal bodies affect and are in turn affected by the animate and inanimate bodies around them. In this context affect has often functioned as an instigating site of change that opens up the experience of a particular animal to new possibilities for action and relation. This paper seeks to bring the (...) significant role that affect has played in opening up new directions in ethological theory and practice in contact with a discussion of two currents in affect theory – one shaped by the genealogy of philosophical thought that stretches from Spinoza, through Gilles Deleuze, to contemporary thinkers such as Brian Massumi, and the other emerging from the reception of the American psychologist and cybernetics thinker Silvan Tomkins, in the context of queer theory, through the work of Eve Sedgwick and Adam Frank. The locus of intersection for these different modes of theoretical practice is the site-specific case study of monk parakeets who have drawn on and incorporated the ornamental elaborations of human architecture into their own complex architectural nest constructions at Brooklyn's Green-Wood Cemetery. (shrink)

Preface and Acknowledgments Introduction PART I Intentionality Chapter 1 Fodor’ Guide to Mental Representation: The Intelligent Auntie’s Vade-Mecum Chapter 2 Semantics, Wisconsin Style Chapter 3 A Theory of Content, I: The Problem Chapter 4 A Theory of Content, II: The Theory Chapter 5 Making Mind Matter More Chapter 6 Substitution Arguments and the Individuation of Beliefs Chapter 7 Stephen Schiffer’s Dark Night of The Soul: A Review of Remnants of Meaning PART II Modularity Chapter 8 Précis of (...) The Modularity of Mind Chapter 9 Why Should the Mind Be Modular? Chapter 10 Observation Reconsidered Appendix: A Reply to Churchland’s ‘Perceptual Plasticity and Theoretical Neutrality" References Index of Names. (shrink)

Does one have special obligations to support the political institutions of one’s own country precisely because it is one’s own? In short, does one have political obligations? This book argues for an affirmative answer, construing one’s country as a political society of which one is a member, and a political society as a special type of social group. The obligations in question are not moral requirements derived from general moral principles. They come, rather, from one’s participation in a special kind (...) of commitment: a joint commitment. This theory is referred to as the plural subject theory of political obligation since, by the author’s definition, those who are party to any joint commitment constitute a plural subject of some action in a broad sense of the term. Several alternative theories are compared and contrasted with plural subject theory, with a particular focus on the most famous — actual contract theory — according to which membership in a political society is a matter of participation in an agreement. The book offers plural subject accounts of both social rules and everyday agreements, and includes discussion of political authority and punishment. (shrink)