Nous proposons de penser ensemble les concepts d’espace et de temps : ils concernent les mêmes degrés de liberté des éléments du monde et fonctionnent toujours en tandem. Leurs fondements doivent être discutés, non dans une pensée de la substance (chacun est défini par une série de caractères qui lui sont propres), mais dans une pensée de la relation (chacun se définit en opposition à l’autre). Nous opposons des relations spatiales à des relations temporelles, ou encore des relations d’immobilité à (...) des relations de mobilité relative. La décision de la frontière entre ces deux ensembles de relations est sujette à arbitraire : nous avons une grande flexibilité dans les définitions asso­ciées des paramètres d’espace et de temps ; elle ne fait pas non plus l’économie de difficultés conceptuelles ou logiques semblables à celles rencontrées dans la mécanique quantique. Il faut revoir dans cette perspective autant le concept de temps que celui d’espace : le temps ne coule pas, il est changement de relation, il est mouvement ; l’espace est abstrait à partir de relations constantes ou morceaux constants de mouvement. Les mouvements relatifs qui expriment ces relations, changeantes ou non, contiennent toujours un aspect spatial et un aspect temporel, comme pile et face de la même réalité. Nous proposons de voir plus généralement dans toute relation un aspect spatial (l’écart qui sépare les deux termes de la relation) et un aspect temporel (le parcours du chemin qui les relie). Sur cette base, nous proposons un programme de re­cherche pour reprendre un certain nombre de problèmes fondamentaux de la physique contemporaine, ainsi que des pistes pour reprendre ce que nous di­sons du temps et de l’espace dans les sciences humaines et sociales, la culture, et jusque dans la vie quotidienne. (shrink)

Neuroethics is an interdisciplinary field that arose in response to novel ethical challenges posed by advances in neuroscience. Historically, neuroethics has provided an opportunity to synergize different disciplines, notably proposing a two-way dialogue between an ‘ethics of neuroscience’ and a ‘neuroscience of ethics’. However, questions surface as to whether a ‘neuroscience of ethics’ is a useful and unified branch of research and whether it can actually inform or lead to theoretical insights and transferable practical knowledge to help resolve ethical questions. (...) In this article, we examine why the neuroscience of ethics is a promising area of research and summarize what we have learned so far regarding its most promising goals and contributions. We then review some of the key methodological challenges which may have hindered the use of results generated thus far by the neuroscience of ethics. Strategies are suggested to address these challenges and improve the quality of research and increase neuroscience's usefulness for applied ethics and society at large. Finally, we reflect on potential outcomes of a neuroscience of ethics and discuss the different strategies that could be used to support knowledge transfer to help different stakeholders integrate knowledge from the neuroscience of ethics. (shrink)

This paper provides a reading of the opera criticism of Bernard Williams in the light of his philosophical writings. Beginning with the observations that his philosophical writing lacks engagement with musical and aesthetic issues, and his operatic writing appears to present no particular philosophy of the subject, I try to draw together certain themes by mapping Williams's operatic concerns onto his philosophical project more generally. I argue that the 'excessive' nature of the artform—the idea that opera tends to exceed (...) its musico-dramatic functions—was of particular interest to Williams, partly because it resonated with his dislike of easy theoretical solutions to thorny practical issues. More specifically, Mozart's Cosi fan tutte is related, via the way the way its emotional register exceeds its dramatic context, to the issues examined by Williams in his work on moral luck. Similarly, I discuss the way Williams's essay on Debussy's Pelléas et Mélisande seems to hint at an account of the emotions which is otherwise missing from Williams's oeuvre. (shrink)

In Nietzsche's Psychology of Ressentiment, Guy Elgat develops an interpretation of some of the central themes of Nietzsche's GM, which is one of his most systematic works and a pivotal part of his critique of the modern moral outlook that grew out of Christianity. Elgat's original approach is framed by two fundamental ideas: first, Nietzsche takes the concept of "moral justice" to be central to the morality he sets out to criticize; second, Nietzsche's suspicion toward moral justice is rooted in (...) its association with the affect of ressentiment. Thus, Elgat notes that ressentiment is frequently supposed either to express a sense of justice, or to... (shrink)

What is the philosophical role of an historical account of how someone, or some people, came to believe or value as they do? I consider some proposals, due to Bernard Williams and David Wiggins, according to which such an account might either vindicate or subvert our believing or valuing as we do. I suggest some reasons for scepticism about those proposals, at least when construed as providing a fundamental means of assessing cases of believing or valuing. The main problem (...) raised for the proposals, when so construed, is that they conflate reasons that now support believing or valuing with reasons for coming in the first place to believe or value. (shrink)

Abstract Do the central aims of epistemology, like those of moral philosophy, require that we designate some important place for those concepts located between the thin-normative and the non-normative? Put another way, does epistemology need "thick" evaluative concepts and with what do they contrast? There are inveterate traditions in analytic epistemology which, having legitimized a certain way of viewing the nature and scope of epistemology's subject matter, give this question a negative verdict; further, they have carried with them a tacit (...) commitment to what we argue to be an epistemic analogue of the reductionistic centralist thesis which Bernard Williams, in our view, successfully repudiates in ethics. In this essay, we challenge the epistemic analogue of the traditional but mistaken thesis. In offering an alternative to it which provides a comfortable home for the epistemic normativity which attends thick evaluative concepts, we align ourselves with what has been recently called the Value Turn in epistemology. From this perspective, we defend that, contrary to tradition, as influenced by centralist assumptions, epistemology does need thick evaluative concepts. Further, the sort of theories that will be able to give thick evaluative concepts an irreducible role in both belief and agent evaluation are adequately social epistemologies. What loosely refer to as second-wave of virtue epistemology is the widespread interest to provide a comfortable home for the role of thick normativity, as it is connected both with epistemic evaluation, and guidance. We recognize that, in breaking from centralism, there is a worry that a resulting anti-centralist theory will be reductionistic in the other direction, making the thick primary. We contend however that second-wave virtue epistemologies take different sources of social and epistemic value into account; they seek the 'right thickness' to ride with conception of epistemology and a field which due in part to virtue theory's resurgence, is today normative, diverse and expansive than was the traditional set of problems from which it emerged. (shrink)

In this paper I present a new argument against internalist theories of practical reason. My argument is inpired by Frank Jackson's celebrated Knowledge Argument. I ask what will happen when an agent experiences pain for the first time. Such an agent, I argue, will gain new normative knowledge that internalism cannot explain. This argument presents a similar difficulty for other subjectivist and constructivist theories of practical reason and value. I end by suggesting that some debates in meta-ethics and in the (...) philosophy of mind might be more closely intertwined than philosophers in either area would like to believe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Author, AuthorBernard KnoxThe title of this essay is not a reference to that enthusiastic but misguided shout from his friends in the audience at the St. James Theatre in 1895 that brought a reluctant Henry James to the stage at the end of his play Guy Domville, only to be greeted by whistles, shouts, and insults from the irate denizens of the gallery, one of whom had somewhat spoiled (...) the dramatic effect of the actor’s climactic line—“I am the last of the Domvilles”—by shouting: “And a bloody good thing y’are!” My title is the rubric of an infuriating competition that appears every week in the pages of the London Times Literary Supplement; it offers three quotations, all dealing more or less with the same subject, and defies the reader to identify the authors. Since the fiends who concoct these puzzles have carefully avoided passages likely to turn up in anthologies, having, in fact, ransacked their authors’ lesser-known works for texts innocent of such clues as proper names, dates, or allusions to historical events, the reader unwise enough to take a hand in the game has to rely on indications of the personality of the author.Not, obviously, the historical, biographical personality, but the literary personality: the characteristic attitudes and concerns, the rhythms, tones, and levels of discourse, the literary individuality that enables us to distinguish a paragraph of Jane Austen from one of Henry James, and either of them from one of Ernest Hemingway, or the epic blank verse of Milton from that of Keats or Tennyson. This literary identity is now the target of academic assaults from many quarters, of which I propose to single out two in particular—the Roland Barthes-Derrida denial of authors’ identity or even of their existence, and the New [End Page 76] Historicism, which confines that identity to the stringent limitations of the author’s time and place.The first aberration treats the author’s work as a “text,” material for the discovery of intertextuality, subtext, and—a word that I have not seen in print but that, if not yet born, is surely close to delivery from the womb of the goddess Terminologia—metatext, which, on the analogy of “metatheater,” would denote a text discussing its own textuality. In the deconstruction of the text the author disappears; Barthes in fact proclaimed the “death of the author.” But though such theories are usually thought of as French products of the Sixties and Seventies, their origins can be discerned in much earlier work done by Americans in the Forties, the years that saw the birth of that New Criticism which Norman Fruman recalls in his short history of our association, reasserting its basic principle: that “there should be a primary focus on literature as literature and not as something else.” I am myself a child—an aging child—of the New Criticism; the first article I ever published had a title that sounds like a parody of the typical New Critical title—“The Serpent and the Flame.” The editors of the American Journal of Philology, who reluctantly accepted the article after several unsuccessful attempts to get me to tone it down, felt constrained to add to the title: “Patterns of Imagery in the Second Book of the Aeneid.”But there was one aspect of the New Criticism that disturbed me: the influential idea, expounded by a formidable member of the Yale English department, William Wimsatt, called the Intentional Fallacy, which proclaimed that “the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art.” Though this pronouncement was hedged about with many limitations and provisos it still seemed to me to give rein to freewheeling interpretations that eased the acceptance of the radical hijacking of the author’s work by Derrida, Barthes, Lacan, and hoc genus omne.I was especially disturbed by this doctrine because, as a classical scholar, I had been very much concerned, as is every member of our discipline, with authorial intention at the basic level—the often vexed question not of what impression the author sought to make on the... (shrink)

"The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning."--from _The Ecstasy of Communication _First published in France in 1987, _ The Ecstasy of Communication_ was Baudrillard's summarization of his work for a postdoctoral degree at the Sorbonne: a dense, poetically crystalline essay that boiled down two decades of radical, provocative theory into an aphoristically eloquent (...) swan song to twentieth-century alienation. Baudrillard's quixotic effort to be recognized by the French intellectual establishment may have been doomed to failure, but this text immediately became a pinnacle to his work, a mid-career assessment that looked both forward and back. By carefully distilling the most radical elements of his previous books, Baudrillard constructed the skeleton key to all of the work that was to come in the second half of his career, and set the scene for what he termed the "obscene": a world in which alienation has been succeeded by ceaseless communication and information. _The Ecstasy of Communication_ is a decisive, compact description of what it means to be "wired" in our braver-than-brave new world, where sexuality has been superseded by pornography, knowledge by information, hysteria by schizophrenia, subject by object, and violence by terror. The Ecstasy of Communication is an anti-manifesto that confronted and dispensed with such influences as Marshall McLuhan, Guy Debord, and Georges Bataille. It is an essential crib-book, lexicon, and companion piece to any and all of Baudrillard's books. Twenty-five years after its original publication, it remains not only a prescient portrait of our contemporary condition, but also a dark mirror into which we have not yet dared to look. (shrink)

This article explores the potential utility of certain features of Friedrich Nietzsche’s philosophical concepts for philosophical counselling. Central to the philosophical counseling process is philosophical counsellors applying the ideas of philosophers or philosophical system to inspire, educate, and guide their counselees in dealing with life problems. For example, the philosophical practice methodology of Logic-based Therapy, developed by American philosopher Elliot Cohen, provides a rational framework for confronting problems of living, where the counselor helps the counselee find an uplifting philosophy that (...) promotes a guiding virtue to act as an antidote to unrealistic and often self-defeating conclusions derived from irrational premises. I present the argument that Nietzsche’s analysis of suffering, is one such uplifting philosophy which can be of utility to philosophical counselors. According to Bernard Reginster, suffering forms the bedrock of Nietzsche’s life-affirming concept of the ‘will to power.’ Nietzsche’s notion of the will to power radically alters our conception of, and the significance we assign to suffering, where the will to power is best understood as an individual’s desire for the activity of overcoming resistance. Nietzsche’s analysis implies that the fundamental human impulse is not to avoid suffering, but rather to embrace suffering as an unavoidable existential given of life itself: the meaning to be found in suffering is tantamount to affirming life itself. (shrink)

Le 31 mai 1703, Étienne-François Geoffroy, qui était alors chimiste à l’Académie royale des sciences, soutint une thèse de médecine présidée par Guy-Crescent Fagon à la Faculté de médecine de Paris sous le titre An medicus, Philosophus Mechanico-Chymicus? S’appuyant notamment sur les travaux de Varignon pour la mécanique et de Homberg pour la chimie, Geoffroy montre que le corps humain n’est pas seulement une merveilleuse machine hydrostatique, mais aussi une machine d’un ordre supérieur, dont seule la chimie peut rendre compte (...) de certaines opérations. Comme Hippocrate lui-même l’aurait suggéré, selon une lecture quelque peu anachronique, le bon médecin, loin de devoir choisir entre mécanique et chimie, doit au contraire user de leur nécessaire complémentarité pour comprendre le fonctionnement du corps humain. (shrink)

In the history of Christian thought, St Bonaventure stands out as the pre-eminent Franciscan philosopher of the 13th century and as a key figure in the development of the spiritual theology of the Church. The four studies which constitute this volume present detailed investigations into some of the principal sources from which Bonaventure drew his inspiration, from Antiquity through to St Bernard in the century before his own. Proceeding from a careful analysis of the quotations he makes from these (...) sources, the studies make clear the precise extent and nature of their importance in Bonaventure¿s own thought, and the manner in which he selected ideas and used them to serve his own purposes. The first two pieces focus on the influence exerted by the Pseudo-Dionysius, in particular as concerns his notion of hierarchy; this became a central and fertile theme in the work of the Franciscan. Father Bougerol shows how Bonaventure interpreted and developed it, in the process transforming it into a meditation on the relationship between man and God. This emphasis also emerges in the third study, on his attitude towards Aristotle, which demonstrates Bonaventure¿s deliberate progress towards the elaboration of his spiritual theology. (shrink)

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

For more than 50 years the Guy's Hospital physician Frederick Pavy attempted to discredit the theory of his erstwhile teacher, Claude Bernard, that liver glycogen was broken down to supply sugar to the systemic circulation. His opposition was driven by his clinical perceptions and was based on two assumptions: the first was that the kidney was a simple filter through which small molecules would diffuse, so that sugar had to be prevented from reaching the systemic circulation. For Pavy, the (...) liver was the barrier. The second was teleological: he could not believe that nature would operate in what he saw as a defective way, i.e. converting sugar into glycogen and then back again. At the beginning of his long working life Pavy regarded himself as a physiologist and was critical of the stagnancy of English physiology which was kept afloat by amateurs like himself in whatever time they could spare from busy private practice. At the end he came to see his own view of carbohydrate metabolism as symbolic of the schism between responsible clinicians and irresponsible daydreaming physiologists. (shrink)

The presence of luck in our cognitive as in our moral lives shows that the quality of our intellectual character may not be entirely up to us as individuals, and that our motivation and even our ability to desire the truth, like our moral goodness, can be fragile. This paper uses epistemologists' responses to the problem of “epistemic luck” as a sounding board for this fragility; it locates the source of much of the internalist-externalist debate in epistemology in divergent, value-charged (...) “interests in explanation,” which epistemologists bring with them to discussions of knowledge and justification. In so doing, It delineates commonalities and key differences between those authors I describe as virtue reliabilists and those I describe as virtue responsibilists, while showing how they each provides resources for leading beyond the impasse between internalism and externalism as standardly understood in the literature. (shrink)

How do people judge the degree of causal responsibility that an agent has for the outcomes of her actions? We show that a relatively unexplored factor -- the robustness of the causal chain linking the agent’s action and the outcome -- influences judgments of causal responsibility of the agent. In three experiments, we vary robustness by manipulating the number of background circumstances under which the action causes the effect, and find that causal responsibility judgments increase with robustness. In the first (...) experiment, the robustness manipulation also raises the probability of the effect given the action. Experiments 2 and 3 control for probability-raising, and show that robustness still affects judgments of causal responsibility. In particular, Experiment 3 introduces an Ellsberg type of scenario to manipulate robustness, while keeping the conditional probability and the skill deployed in the action fixed. Experiment 4, replicates the results of Experiment 3, while contrasting between judgments of causal strength and of causal responsibility. The results show that in all cases, the perceived degree of responsibility increases with the robustness of the action-outcome causal chain. (shrink)

An old question, still much discussed in moral philosophy, is whether there is any ethical knowledge. It is closely related, by simple etymology, to the question of cognitivism in ethics. Despite the fact that the terms ‘cognitivism’ and ‘objectivism’ seem sometimes to be used interchangeably, I take it that the question whether there can be ethical knowledge is not the same as the question whether ethical outlooks can be objective. A sufficient reason for this is that an ethical outlook might (...) be taken to consist of rules or principles, which do not admit of truth or falsehood and so cannot be objects of knowledge, but which can be seen as having an objective basis. (shrink)

An unresolved issue in the occupational health literature that is of both theoretical and practical importance is whether interpersonal conflicts, aggression and bullying at work are distinct or overlapping phenomena for exposed workers. In this study, we addressed this question empirically by employing a Latent Class (LC) analysis using cross-industry data from 6,175 Belgian workers. We found that a two-factor solution with a conflict-aggression factor and a bullying factor had the best fit. Employees with low exposure to workplace conflicts-aggression and (...) bullying perceived the phenomena as mostly overlapping. Reversely, employees who were exposed more frequently to the phenomena perceived them as more distinct - especially so for workplace bullying. Conflicts-aggression and bullying seem to be perceived as separate phenomena given their distinctive relationships with criterion variables in the domain of well-being and strain. These findings entail that a simple unifying approach or a single label for the three phenomena is not appropriate, at least from a measurement point of view and from the different perspectives of those exposed. Our results have important implications for the theoretical understanding of the concepts of interpersonal conflicts, aggression and bullying, and for practitioners who have to assist those involved with how to handle these problems and who have to develop legal as well as internal policies for the prevention and management of these issues at the workplace. (shrink)

[opening paragraph]: In this commentary I want to offer a general response to the papers: one which links together the introspectionist, phenomenological and Buddhist traditions, and suggests a practical relationship between first-person and third-person perspectives.

Issues concerning technological risk have increasingly become the subject of deliberative exercises involving participation of ordinary citizens. The most popular topic for deliberation has been genetically modified foods. Despite the varied circumstances of their establishment, deliberative “minipublics” almost always produce recommendations that reflect a worldview more “precautionary” than the “Promethean” outlook more common among governing elites. There are good structural reasons for this difference. Its existence raises the question of why elites sponsor mini-publics and if policy is little affected by (...) the results of deliberations, questions the possibility of deliberative legitimation of public policy. We make this argument by looking at mini-publics on GM foods in France, the United States, Canada, United Kingdom, Australia, and Switzerland. Deliberative legitimation becomes plausible if elites can attenuate their Promethean outlook. This is possible if ecological modernization discourse pervades their politics; Denmark provides an illustration. (shrink)

This paper uses E. M. Forster’s novel Howards End to help articulate what I describe as a moral pluralist approach to moral conflict. Moral pluralism, I argue here, represents a way of responding to the moral conflicts we encounter in our lives, rather than the mere acknowledgment of their inevitability, as suggested by value pluralists like Isaiah Berlin. The tragic view of moral conflict epitomized by Sophocles’ Antigone and endorsed by most theories of value pluralism, tells us that we must (...) choose between moral commitments and reconcile ourselves to the moral regrets that inevitably follow from moral choice. The moral pluralist view, in contrast, suggests that we should seek means, however imperfect, of satisfying conflicting moral commitments and minimizing causes for moral regret. That view, I argue, drives the words and actions of Forster’s heroine in Howards End, Margaret Schlegel. Confronted with a battle between a willful patriarch and a self-righteous sister, a conflict that maps neatly onto the central conflict in Sophocles’ tragedy, Margaret refuses to take sides without refusing to make moral choices. And in doing so, she comes to exemplify an unexpected kind of moral heroism. (shrink)

Bernard Pingaud confronte ici son expérience de l'écriture avec les théories des spécialistes sur le «texte». Il évoque aussi les effets de la publication, le statut d'auteur, l'avenir du livre à l'âge du numérique et présente un choix d'articles publiés entre 1950 et 2000.

D’un point de vue patrimonial, le célèbre texte des Éléments de géométrie de Clairaut, publié la première fois en 1741, est traditionnellement considéré comme le début d’une riche histoire plutôt que son aboutissement, en raison notamment du succès considérable qu’il a eu dès sa parution et de la manière dont Clairaut en a défendu le projet, en rupture apparente avec le modèle euclidien. Nous proposons ici une image un peu différente qui s’appuie sur la nature très particulière de la production (...) géométrique foisonnante dans laquelle le traité de Clairaut s’insère et doit être compris. Nous présentons tout d’abord le côté paradoxal de l’ouvrage, qui revendique non seulement une grande originalité mais aussi une non moins grande conformité au genre des « éléments » de géométrie spéculative. Nous indiquons ensuite cinq raisons majeures qui montrent que le texte était en effet largement conforme aux attendus de l’époque, y compris dans sa revendication d’accessibilité et de rupture vis-à-vis du modèle euclidien. Nous dégageons deux originalités de l’ouvrage : le fait de confondre les caractéristiques des géométries spéculatives et pratiques dans un seul et même ouvrage ; et le fait d’écrire un ouvrage de géométrie suivant un « ordre analytique », mais sans algèbre. (shrink)

In this article, I examine Nietzsche's famous claim that moralities are a “sign-language” or “symptomatology” of the affective states of moral agents. I sketch out the sentimentalist interpretation of this claim, which has become prevalent in the scholarly literature, and argue that it cannot be correct. The relation it posits between values and the affects that explain them displays certain distinctive characteristics—noncontingency, expressive transparency, and specificity—which the relation between affects and values Nietzsche envisages in the examples that illustrate his claim (...) ostensibly lacks. I argue that the relation between affects and values is better understood as functional, rather than expressive: he explains moral judgments by showing how they serve certain emotional needs of the agent. Thus, Nietzsche's claim is better understood as articulating a kind of sentimental pragmatism. I conclude with some brief thoughts on the relation between this pragmatism and sentimentalism. (shrink)

This volume is an edited version, recreated from tapes and auditors' notes, of the ten lectures that Canadian Jesuit, Bernard Lonergan, delivered on his Insight.

Ce livre est composé de chroniques destinées à la revue mensuelle du Rotary club de Colmar dont Bernard Pierrat est un ancien président. L'auteur porte un regard critique sur les informations recueillies dans de nombreux domaines pour apaiser les angoisses nées le plus souvent de l'ignorance. Les avancées fulgurantes de la science ont bouleversé les repères auxquels nous nous référions dans notre approche du réel. Nous sommes sans cesse confrontés à des questions nouvelles qui sollicitent notre curiosité, ce sel (...) de l'esprit. Nourri de la pensée de Teilhard de Chardin, l'auteur propose d'analyser avec lucidité les pistes d'un avenir au service de l'humain et tente d'actualiser la devise du Rotary international " Servir " destinée à favoriser la compréhension entre les Hommes et aider chacun à être plus ouvert sur le monde et sur les autres. (shrink)

Dans cet ouvrage, où il s'agit d'appréhender l'univers pascalien sur le plan apologétique, on suit le cheminement de la foi de Pascal à partir de fragments retrouvés après sa mort, textes à l'origine des différentes éditions des Pensées. La structure antithétique et paradoxale de son génie l'a conduit à une quête religieuse sans concession à l'égard de la société de son temps. La fonction dualiste de son écriture aboutit à mettre en valeur la béance séparant le fini de la nature (...) humaine de l'infini de la grâce de Dieu. Seule la médiation christique dans l'histoire a pu combler ce vide de l'homme dans l'humilité de la foi. L'aspect novateur de la quête pascalienne expliquerait alors en grande partie le côté inachevé des papiers. Cinq appendices visent à mettre le texte pascalien face aux modes de pensée du XVIIe siècle. La richesse du texte pascalien demeure malgré tout inépuisable. (shrink)

i n br e ve ha pos t o l e f ondament a del l ’ e di f i ci o logico-matematico contemporaneo» (R. Blanché, La logica e la sua storia da Aristotele a Russell, Ubaldini, Roma 1973, p. 311).

ABSTRACT The “Socratic method” seems to be well understood in general to mean some sort of “question and answer” procedure as distinguished from “lecturing.” Law schools are familiar sites for its so-called practice, and the Platonic dialogues are believed to provide models of it. However, Socrates himself never speaks of having a method except in one place in the Phaedo – where it has nothing to do with “question and answer.” The Greeks had a clear word for method, “methodos,” and (...) Socrates applies it once and once only. He calls his method “eike phuro,” random mixing. In this paper, I shall attempt to bring this method together with the myths, jokes, and very long discourses with which the dialogues are replete. (shrink)

_Nulla dies sine linea_ « Regarde de tous tes yeux, regarde » « Travaille ton instrument » Essentielle à toute activité artistique, la pratique d’exercices est pourtant rarement interrogée en tant que telle. Qu’est-ce qu’un exercice artistique? Quelles perspectives la pensée de l’exercice permet-elle d’ouvrir sur la compréhension des pratiques artistiques, sur leurs liens avec les savoirs et les techniques, sur leur dimension historique et sociale, sur les valeurs de transmission qu’elles font vivre? Réactivée dans la philosophie contemporaine, la notion (...) d’exercice n’est pourtant que rarement confrontée aux pratiques artistiques et aux élaborations théoriques de ces pratiques. Or l’artiste, c’est d’abord une femme ou un homme qui, pour faire et pour produire, doit s’exercer, et s’exercer sans relâche. Exercices d’apprentissage et de formation, antérieurs à l’œuvre ; e... (shrink)