Anorexia nervosa and obsessive–compulsive disorder are commonly reported to co-occur and present with overlapping symptomatology. Executive functioning difficulties have been implicated in both mental health conditions. However, studies directly comparing these functions in AN and OCD are extremely limited. This review provides a synthesis of behavioral and neuroimaging research examining executive functioning in AN and OCD to bridge this gap in knowledge. We outline the similarities and differences in behavioral and neuroimaging findings between AN and OCD, focusing on set shifting, (...) working memory, response inhibition, and response monitoring. This review aims to facilitate understanding of transdiagnostic correlates of executive functioning and highlights important considerations for future research. We also discuss the importance of examining both behavioral and neural markers when studying transdiagnostic correlates of executive functions. (shrink)

Este trabajo se propone mostrar cómo la Teoría Neoclásica de la Ley Natural fundamenta la existencia de normas morales absolutas, cuál es su relevancia para la filosofía moral, y qué críticas pueden ser formuladas a la argumentación de los autores. Ellos postulan que la ley natural, mediante normas, lleva a elegir y proteger bienes humanos básicos, correspondientes a los diversos aspectos de la naturaleza humana, evitando su destrucción, daño o impedimento. Aunque la mayoría de las normas morales admiten excepción, nunca (...) lo hacen las que prohíben realizar un acto que siempre daña directamente un bien básico, pues tal acto no puede compatibilizarse con la propia autorrealización, y atenta contra la dignidad humana. La división del trabajo tomará la siguiente forma: en los primeros cuatro apartados se abordarán los conceptos clave para la defensa de una norma absoluta en la Teoría Neoclásica, en el quinto se enlazarán los conceptos al modo que los autores lo hacen para demostrar la existencia de absolutos morales y someter el consecuencialismo a crítica, y en el sexto se hará una breve revisión crítica de los argumentos presentados. (shrink)

Educators are central to the implementation of Britain’s Prevent Strategy, through the ‘Prevent duty’. This mandatory reporting responsibility, shared with professional practitioners in health and welfare, requires educators to spot and refer individual students potentially ‘vulnerable to’ or ‘at risk’ of radicalisation. The Prevent duty explicitly instructs educators and educational institutions to understand this responsibility as ‘safeguarding’ and to operationalise it through existing safeguarding paradigms and mechanisms, an approach mirrored by other Western countries. This framing of terrorism prevention as ‘safeguarding’ (...) within education, health and welfare has come under strong criticism from scholars who see it both as a perversion and as a securitisation of ‘traditional’ safeguarding. There has been too little consideration of what ‘safeguarding’ represents within modern education and how coherently, therefore, terrorism prevention approaches such as the Prevent duty fit. The article contributes to addressing this deficit, arguing that safeguarding within modern education is a form of anticipatory security, an approach of ‘new public management’, which sees anticipating and preventing risk to students as a core responsibility for all professionals. In this way, the article argues that counter-terrorism prevention responsibilities for educators, such as Britain’s Prevent duty, are entirely consistent with broader, pre-existing safeguarding paradigms within education. (shrink)

In this article, I revisit Karl Marx’s claim in his Economic and Phil-osophic Manuscripts of 1844, that the subject in its “individual existence is at the same time a social being.” I redefine what has been translated as “social being” as “common being” in order to extrapolate an understanding of subjectivity that is a socio-ontological and collectively structured collectivity. In doing so, I demonstrate (1) that this common being is a collection of different socio-ontological traits; (2) that in order for (...) this common being to be approximated we must take into account all modes of subjectivity production that intersect in what will appear as the subject; and (3) that the Other is the constitutive parameter of the common being on which the subject depends. Finally, I revisit three exemplary modes of practice - namely critique, solidarity, and utopia - and show that conceiving of the subject as a common being renders critique constellational, solidarity overdetermined, and utopia a koinotopia. (shrink)

Introduction: The Anarchist -- The Minister: 1756-93 -- The Philosopher: 1793 -- The Activist: 1794-95 -- The Husband: 1796-99 -- The Educator: 1800-09 -- The Father:1810-19 -- The Pensioner:1819-36 -- The Legacy.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Basic Cartesian intuitions are directed at simple natures, not truths; but intuitions are also a foundation for propositional knowledge. There are two basic objectives of this chapter: to show how Descartes gets from intuitions to propositional knowledge, and to show how his solution to this problem structures his thinking on the main issues in Cartesian epistemology. I maintain that the solution to is to be found in the principle if we perceive the presence of an attribute A, there must be (...) an actually existing substance to which A is attributed. This principle gets its clearest expression in the Principles of Philosophy but also appears in the Rules for the Direction of the Mind and in the Meditations where, I argue, it appears in the form of the Rule of Truth. I show how this principle is derived from the cogito, understood both as inference and as intuition, how this principle plays a role in Descartes theory of consciousness and self‐knowledge, in the case for substance dualism, and in the theory of clear and distinct ideas. (shrink)

The leading idea of this chapter is that, for Descartes, intellectual ideas make it obvious what metaphysical category the properties they disclose to the mind fall into but not whether they are actually exemplified; sensations make it obvious whether the properties they disclose to the mind are exemplified but not what their metaphysical category is. This idea is worked out through a discussion of three stages in the development of Descartes's doctrine of the material falsity of sensory ideas, the core (...) concept of his error explanation of the senses. Material falsity is a set of three defects that sensations have in comparison with intellectual ideas, ideas that fully discharge the role, which Descartes assigns to ideas in his philosophical system. The first stage, reflected in Meditation III, identifies material falsity with two defects: nonrepresentation and misrepresentation ; the second stage, reflected in the Reply to Arnauld, identifies material falsity with obscure ideas ; the third stage, reflected in the Principles of Philosophy I, sees the terminology of material falsity disappear and the terminology of clear but not distinct ideas appear. Other topics discussed include a special application of the rule of truth and skepticism. (shrink)

How can a Cartesian idea represent ordinary physical objects? One possibility is that Descartes holds a theory of natural signs according to which ideas, including sensations, represent states of the external world that are correlated with them. I deny that Descartes has a theory of natural signs in this sense, arguing, instead, that our perception of ordinary physical objects is achieved not through ideas, properly speaking, but through a special act of the mind which projects its sensations onto objects in (...) the external world, objects truly represented by ideas of primary qualities alone. This ”projection” comprises referral judgments that account for the characteristic phenomenology of experience of the physical world but in a way that misleads us to think that our ideas bear a resemblance to the underlying metaphysical reality of the physical world. Other issues discussed include Descartes's taxonomy of ideas. (shrink)

Cartesian epistemology comprises three main divisions: an a priori theory, discussed in Chs. 1–3, a psychological theory of error explanations in judgment induced by features of our sense experience discussed in Chs. 4, 5 and 7, and a theory of natural reasons, discussed here. The theory of natural reasons, based on Descartes's notion of natural inclinations, is expressed here in terms of a series of warrant principles of which there are two main kinds: those that warrant action and those that (...) warrant claims for what is true. This chapter traces Descartes's epistemically ambivalent attitude to cognitive dispositions from the early treatment in the Rules for the Direction of the Mind through to the final treatment in The Passions of the Soul. The chapter focuses special attention on the appearance of one kind of natural reason, reasons of truth, in the proof of the external world in Meditation VI and the striking absence of same in the proof of the external world in the Principles of Philosophy II. The chapter also considers whether natural reasons apply to particular aspects of corporeal things, concluding with a discussion of the Cartesian Circle. (shrink)

This essay explores the nature and neurological basis of creativity in technical production. After presenting a model of expert technical cognition based in cognitive anthropology and cognitive psychology, the authors propose that craft production has three inherent sources of novelty — procedural drift, serendipitous error and fiddling. However, these are quite limited in their creative potential, which may help explain the virtual absence of innovation over the long millennia of the Palaeolithic. Innovation can be far more rapid and effective via (...) invention, which requires folk theories of causation and adequate working memory capacity, all fairly recent evolutionary developments. The neurological basis of expert technical cognition lies in well-known cortical and sub-cortical structures, but recent research has established a provocative role for the cerebellum in the formulation of novel arrangements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Professor’s DesireAnca Parvulescu (bio)Roland Barthes. THE NEUTRAL. Trans. Rosalind E. Krauss and Denis Hollier. New York: Columbia UP, 2005. Trans. of Le Neutre. Paris: Seuil, 2002.I add: a reflection on the Neutral, for me: a manner—a free manner—to be looking for my own style of being present to the struggles of my time.—Roland Barthes, The NeutralWhat I am looking for, during the preparation of this course, is (...) an introduction to living, a guide to life (ethical project): I want to live according to nuance.—Roland Barthes, The NeutralLe Neutre reaches us late. Like an echo, it needed time, and it took its time to come. The second of the three courses Roland Barthes gave at the Collège de France between 1977 and 1980, Le Neutre was published in 2002 by Éditions du Seuil, following the editorial work of Thomas Clerc, under the direction of Éric Marty.1 Rosalind E. Krauss and Denis Hollier’s translation as The Neutral brought it to life in English in 2005. After thirty years, Le Neutre comes indeed late, but perhaps its lateness, the time of the echo, is part of its very scene.Barthes did not conceive of Le Neutre as a book. It was a course, to happen as a onetime affair and then be put aside: “We’ll have to hold on to the unsustainable for thirteen weeks: after that, it will fade” [13]; “This course is made to die on the spot” [250]. As such, the course is not only an attempt to do justice to a “subject,” to which, Barthes insists, we should not hold on once the course is over, but also to meditate on the very situation of teaching.2 The course on the neutral offers the occasion to ask, What is it to teach? And teaching, we soon find out, is a matter of desire: the course should have been called The Desire for the Neutral. The teacher follows his desire and, in doing so—Barthes is reminded by a student—inflects and curbs the student’s desire. What is it, then, that one desires when one desires the neutral? The teacher is pressed to offer something by way of definition:I define the Neutral as that which outplays [déjoue] the paradigm, or rather I call Neutral everything that baffles the paradigm. For I am not trying to define a word; I am trying to name a thing: I gather under a name, which here is the Neutral.[6]The neutral is a “thing” (no qualifying adjective) that outplays, baffles, or dodges the “implacable binarism” of language as seen through Saussurian linguistics: in order to [End Page 32]produce meaning, one is in the same breath choosing A and refusing B. The search here is for a ”thing” that might suspend, thwart, or elude the paradigm, what Barthes calls its arrogance. Indeed, what would it mean to escape the necessity of choosing, say—this is Barthes’s first example—between je ris (I laugh) and je lis (I read)?A problem for the teaching theater unfolds: the moment one names the “thing,” one brings it into the paradigm, constructing an opposition between the neutral and arrogance. The scene of teaching performs an aporia: “Neutral = impossible; to speak it is to defeat it but not to speak it is to miss its ‘setting up’ [...] to speak this cacophony, I need a course” [29]. There is an obvious tension between teaching, its demands for clear and transparent meaning-making and inherent institutional arrogance, and the neutral. “Arrogance”: “the taking of too much upon oneself as one’s right; the assertion of unwarrantable claims in respect of one’s own importance; undue assumption of dignity, authority, or knowledge” [OED]. The teacher is inevitably occupying the place of arrogance. Indeed, foregrounding its righteousness and authority, arrogance is standing, a position Barthes associates with a certain kind of fascism. The neutral teacher struggles to dodge the arrogance inherent to the teaching scene. Sitting, he stammers, cacophonizes. One speaks, but one accompanies speaking with a continuous performance of an apology for speaking.3 The teacher does not offer an anchor in... (shrink)

In this essay, I identify an important problem that has plagued virtue ethics since its inception and offer something of a solution. The problem to which I refer is the inability of many virtue ethicists to understand properly the relationship between law and virtue. This essay will unfold in four sections. First, we will discuss the causes of this inability among virtue ethicists to see clearly the connection between law and virtue. We will focus on the work of Rosalind (...) Hursthouse and argue that she does not adequately understand the political dimension of human nature. Second, we will draw upon both Aristotle and Thomas Aquinas, two crucial sources for virtue ethics, to understand how law functions as a necessary foundation for virtue; we will argue that law is a training in and support for virtuous action, while virtue in turn perfects the law by bringing out its full dynamism and intelligibility. Third, we will continue to discuss Aristotle’s understanding of law and virtue by appealing to his distinction between natural and legal justice, and we will offer an Aristotelian account of how one comes to know the natural law. Finally, fourth, we will develop points from the ancient craft analogy to virtue. Just as skillful activity is founded upon rules but transcends mechanical rule-following behavior, so too virtuous actions are founded upon law but transcend mere law-abiding behavior. This section shows that our account does not violate the so-called “non-codifiability” thesis, nor does it fall into law or rule “fetishism.”. (shrink)

Das Gewissen gilt heute als eines der vorrangigen Kennzeichen der menschlichen Person. Bis heute sind die Bestimmungen des Thomas von massgeblicher Bedeutung fur sein Verstandnis. Der fur seine Gewisssenslehre bedeutendste Text de verritate 16-17 wird hier erstmals in einer vollstandigen zweisprachigen Ausgabe vorgelegt.

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)