Besides its intrinsic interest, the definition of ‘game’ is important for three reasons. Firstly, in Wittgenstein's Philosophical Investigations ‘game’ is the paradigm family resemblance concept. If he is wrong in thinking that ‘game’ cannot be defined, then the persuasive force of his argument against definition generally will be considerably weakened. This, in its turn, will have important consequences for our understanding of concepts and philosophical method. Secondly, Wittgenstein's later writings are full of analogies drawn from games—chess alone (...) is mentioned scores of times—and a proper understanding of ‘game’ can lead us to exercise more caution when considering the parallels between games and non-games. Thirdly, games and play are intriguingly and closely related to art and ritual, and an analysis of games can throw considerable light on both of the latter. (shrink)

In this paper I argue, controversially, that Plato's Meno anticipates Wittgenstein's critique of essentialism. Plato is usually read as an essentialist of the very kind that Wittgenstein was challenging, and the Meno in particular is usually taken as evidence that Plato thought that to know something you must be able to define it, and that if you can't define it you can't investigate any other questions on the topic. I suggest instead that Plato shows Socrates proposing such a position (much (...) as Wittgenstein's imaginary interlocutor might do), only to have it knocked down by what happens in the dialogue. Plato shows that one knows a concept when one can apply it in practice, or, for virtue, when one typically chooses to act in certain ways, passes certain judgements and so on. It turns out, then, that one who claims to "know what virtue is" need not give necessary and sufficient conditions for it. (shrink)

This chapter contains sections titled: On Definition Theories of Gaming A Definition of Videogames.

"Philosophical discussion of the notion of existence, or being, has centered on two main problems which have not always been very clearly distinguished. First, there is the problem of what we are to say about the existence of fictitious objects, such as centaurs, dragons, and Pegasus; second, there is the problem of what we are t o say about the existence of abstract objects, such as qualities, relations, and numbers. Both problems have tempted philosophers to say that there are inferior (...) sorts of existence a s well as the ordinary straightforward sort, and they therefore often suggest that we use the word "being" to cover both kinds but restrict "existence" to "being" of the common, non-fictitious, non-abstract sort. (Sometimes the term "reality" is proposed for "existence" or for "being.") T he problems of fiction and abstraction are different, how ever, for there are both real and fictitious abstractions. For example, the integer between two and four is real, but the integer between two and three is fictitious. On the other hand, there are both concrete and abstract fictions; for example, the winged horse of Bellerophon and the integer between two and three. Accordingly, philosophers have often dealt with the two problems in quite different ways and perhaps ought to do so. While these are the two main problems, there are others, f or example, that of what we are to say of the being of objects which have not yet begun, or have now ceased, to exist. The history of this subject, moreover, has been tangled with theological issues, to which it will be necessary to refer at certain points.". (shrink)

The changes that have affected all spheres of society have also affected the existing stereotypes of gender behaviour, so the issue of the place and role of men and women in society focuses on research on the aspirations, interests and preferences of both sexes. Gender issues are studied in an interdisciplinary aspect, so recently there have been many studies in which the subject of discussion concerns different fields of science - psychology, philosophy, linguistics, journalism, sociology, political science and many others. (...) To study the gender sphere of concept of contemporary periodicals for women and men, the following scientific methods are considered: descriptive method, analysis, content analysis, questionnaire, comparative method and induction. However, an attempt has been made to analyze different approaches to the study of concepts. There are many different definitions of the concept, which indicates the complexity and ambiguity of the “concept” meaning, but there is a limit to the scientific description and understanding of the concept. The gender sphere of concept is a system of interactions of maximum concepts of man and woman, as well as their derivatives, which are called gender and social roles in society performed by man and woman. Concepts, sphere of concept include gender features, which allow a gender approach to study the gender sphere of concept of contemporary periodicals for women and men. The study of the gender sphere of concept within the framework of contemporary gender-labelled publications allows to identify and correlate metagender and gender concepts that appear in society. (shrink)

The purpose of the study is to identify indicators that characterize and allow assessing the potential of media material posted in juvenile media for fostering patriotism in adolescents and youth. The article examines the essential characteristics of the concept of "patriotism" in the historical and contemporary contexts; clarified the definition of the term "juvenile media" and characterized their potential for solving educational problems; revealed the content and style of media material posted in juvenile (...) class='Hi'>media, which has the potential to foster patriotism in adolescents and youth. The scientific novelty lies in identifying criteria and indicators for assessing the contribution of juvenile media to the upbringing of patriotism in adolescents and youth. As a result, the theoretical foundations for the development of a map of expert assessment of juvenile media material from the point of view of its effectiveness in the aspect of patriotic education were identified. (shrink)

Scientific knowledge is no longer transmitted solely through a one-way channel of communication from scientific communities to `lay' readers through the knowledge transmission `chain'. Communication between the two communities has now been extended into media and everyday social discourse where it crops up in news debates about issues such as public health and food safety. In this process, scientific academic discourse has lost much of its original form. This article examines part of the current research at the Centre de (...) recherche sur les discours ordinaires et spécialisés. It provides evidence of new discursive forms adopted by science in media and social discourse, such as the emergence of enunciative standpoints, the redefinition of the role of the journalist as mediator between science and the general public, the use of specific forms of intertextuality and the interweaving of scientific elements in general social discussions. This research on new data implies renewed definitions of certain concepts used in linguistic descriptions: discursive meaning and signification, interdiscursive memory bank, etc. These recent forms of discourse have brought about a change in the status of science so that science has now become an object of debate in the public arena — a sign of its crucial social role. (shrink)

This paper provides an overview of the contemporary debate on the concepts and definitions of Corporate Social Responsibility (CSR) and Corporate Sustainability (CS). The conclusions, based on historical perspectives, philosophical analyses, impact of changing contexts and situations and practical considerations, show that "one solution fits all"-definition for CS(R) should be abandoned, accepting various and more specific definitions matching the development, awareness and ambition levels of organizations.

The accelerated trend toward media cobranding, joint ventures, strategic alliances and mergers, and acquisitions with nonjournalistic companies raises new ethical concerns about the entanglements created in the name of synergy. As traditional media companies buy stakes in Internet companies in equity swaps, the cross-ownership of media creates vast potential for real or perceived conflicts of interest. Ethics scholarship routinely defines conflict of interest as an individual act, ignoring the rise of the media conglomerate. This article introduces (...) the concept of institutional conflict of interest. The problem with the traditional definition of conflict of interest, then, is that it assumes the interests of the institution are always good, and that only the journalist, acting individually can violate the norm. The article outlines how media consolidation creates new conflicts of interest by outlining the term's definitions in various professions and proposing a revised definition that encompasses institutional conflict of interest. (shrink)

The starting-point of this article is an phenomenological analysis in relation to forms of labour in the present world of media and information realities. The priority is given to analysis in view of modern consciousness of labour in so far as it is important for the modern understanding of human praxis. In a retrospective view on Kant and Locke the philosophical definitions and reasons of labour are reconstructed, which characterize the philosophy of modern times in the whole and on (...) its route. Owing to there is the possibility to have a eye for the problems and breaches of present world of labour, which can be identified as fundamental experiences of loss. It is the philosophical work of remembering, which clarifies the negative aspects of modern world of labour concerning the conception of human self and world completely. (shrink)

What is the definition of life? Artificial life environments provide an interesting test case for this classical question. Understanding what such systems can tell us about biological life requires negotiating the tricky conceptual boundary between virtual and real life forms. Drawing from Wittgenstein’s analysis of the concept of a game and a Darwinian insight about classification, I argue that classifying life involves both causal and pragmatic elements. Rather than searching for a single, sharp definition, these considerations suggest (...) that life is a cluster concept with fuzzy boundaries and that there are multiple legitimate ways to make the notion precise for different scientific purposes. This pluralist, realist account avoids unnecessary border disputes by emphasizing how science negotiates such questions in relation to theory and evidence. I also discuss several objections to this approach, including a “moral hesitation” some have to allowing broader application of the concept of life to include artificial life. (shrink)

Purpose This paper reviews the origins of the Ethics Council of the Federation of Social Communication Media of Chile and looks into the historical circumstances surrounding its creation, the concept of self-regulation as understood by its founders, and the criteria that initially ruled its operation. Design/methodology/approach A qualitative survey of nine contemporary witnesses and the confrontation with the scientific literature. Findings The results reveal a significant coincidence with the academic literature both in the description of the concept (...) of self-regulation and in the origin of the ethics councils and of the system under which they operate. However, a series of nuances not usually considered in the concept of self-regulation are described. Originality/value This study will help assess the national and international possibilities of self-regulation and the significance of the Chilean ethics council. (shrink)

in Encyclopedia of Consciousness, ed. William P. Banks, Amsterdam: Elsevier, forthcoming in 2009.

This book traces and explores the evolution of taste from a design perspective: what it is, how it works and what it does. Karin Tehve examines taste primarily through its recursive relationship to media. This ongoing process changes the relationship between designers and the public, and our understanding of the relationship of individuals to their social contexts. Through an analysis of taste, design is understood to be an active constituent of social life, not as autonomous from it. This book (...) reclaims a term long dismissed from interior design and unveils taste's role as a powerful social and political agent within systems of aesthetics, affecting both its producers and consumers. Each chapter discusses a taste concept or definition, analyzes its reciprocal relationship with media, and explores its implications for interior design. Illustrated with 70 images, taste's relationship to media is viewed through a variety of different lenses, including books, photography, magazines, internet, social media and algorithms. Written for students and scholars of interior design and related design fields, this book will be a helpful resource for all those interested in the question of taste, and is an invitation to produce and consume all media critically. (shrink)

The article delves into the conceptual frameworks surrounding artificial intelligence (AI) by juxtaposing it with natural intelligence and delineating the correlated notions. It enumerates the issues propelling the discourse on the explored topics. The author proposes a bifurcation between two polar concepts of artificial intelligence. The first is dubbed “imitative,” where AI is perceived in relation to natural intelligence as its technical recreation, capable of not only emulating but significantly outstripping its natural counterpart. A prerequisite for embodying this concept (...) is understanding natural intelligence; three approaches are examined: (a) acknowledging the lack of a precise understanding of natural intelligence, (b) exploring it from a biological perspective, and (c) analyzing it from a psychological perspective. The author articulates their own interpretation of natural intelligence, portraying it as a multifaceted amalgam of cultural, historical, social, and anthropological elements. From this vantage point, natural intelligence emerges not merely as a natural formation (thereby, discussions about the laws governing its function and evolution are warranted), but also as an “extra-natural” formation, its existence dictated by randomness and uniqueness, meaning natural intelligence evolves in a “singular” manner. In the context of comparing natural and artificial intelligence, the discussion encompasses several issues: the feasibility of the control of natural intelligence processes, the structure of neural networks, the superiority of computer programs in chess, the use of neural networks to write academic papers, and so forth. The conclusion posits that given artificial intelligence, despite its complexity, remains a technical invention orchestrated and brought to fruition by humans as a tool; society, if inclined to bestow AI with autonomy for tackling specific tasks, ought to do so prudently to prevent self-detriment and retain the ability to curtail or utterly revoke such autonomy. (shrink)

ABSTRACTIn this essay, I review Suits’ classic description of games and cite three kinds of problems—mischaracterizations, omissions, and ambiguities. I build on previous criticisms by myself and others leveled at his definition. However, in contrast to much of this previous work, I will present what I hope is an improved description. The latter part of the essay is devoted to defending this alternate characterization. I conclude by arguing that my revisionist work paradoxically both supports and undermines the merits of (...) Suits’ anti-Wittgensteinian efforts to identify the necessary and sufficient conditions for games. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

Histories of communication are still relatively rare birds, but this one is distinctive on several grounds. The two authors are/were undisputed giants in the field. Ken Cmiel, the originator of the book, still unfinished when he suddenly died in 2006, was a cultural historian of communication; his best friend, John Peters, is one of the world leaders in the intellectual history of communication. In completing that unfinished manuscript, Peters has performed astonishing prestidigitation here in creating an effective hybrid: he retains (...) the core of Cmiel's account, while creating a unique book that, courtesy of Peters, brilliantly spins out the solid Cmielian core and its material traces into gorgeous reflections on aspects of how we make our way through a world of images and information. Promiscuous Knowledge constructs a cultural and intellectual history of information, images, and conceptions of knowledge since the 17th century, with an emphasis on the American context since the 19th century. Cmiel/Peters sketch the way in which various containers for information-knowledge, expertise, abridgment, books, digests, encyclopedias, museums, etc.-have variably organized gluts of information, and how these containers have eroded since the 1970s. A parallel throughline traces social attitudes and practices around images and key media for circulating and experiencing them. Cmiel envisioned the largest contour of the book as a contribution to the history of truth and truth-making. His protagonists are pictures and facts, images and information. They enact a process of gradual dismantling, erosion, or collapse of the mass culture system from last century into the present. Promiscuous knowledge has a new face, courtesy of the online universe full of filter bubbles, echo chambers, and fake news. Google offers a single portal to a churning mass of confusion; it lacks a principle of inclusion/inclusivity, it has no way of framing the whole. Peters has shaped what Cmiel started out with into a better Trump-era book than an Obama-era book. And he has retained its core: a brief history of how we left the world of fact for the world of information. (shrink)

A new integrated view on the probabilistic organization of quantum mechanics is constructed. It is then proved that for superposition state vectors the theoretical quantum mechanical distribution for the momentum observable is devoid of operational definition, and hence cannot be the source of conditions of compatibility to be imposed upon a researched joint probability concept. A compatible joint probability concept is outlined.

This inquiry investigates the concept of European values and cultural, philosophical, legal and political presuppositions on which the idea of European values is based. There are two approaches to the idea of European values. The first one is substantive approach. The substantive approach defines European values as based on the European heritage. This conception of European values is fixed. Another understanding of European values is represented by legal/political approach. Legal and political definition of European values includes: human dignity, (...) freedom, democracy, equality, the rule of law and respect for human rights. Most authors consider that only from this second level, from legal and political definition, general features of European values can be achieved, that is, universal rules of the game. This paper shows how these two different approaches can be integrated, relying on John Rawls's idea of overlapping consensus. It should be emphasized that the question of European values and European identity is still a topic of debate. There are different definitions and interpretations of these concepts, regardless of the legal definitions within the framework of European declarations and treaties. European identity is a polyphonic category, which cannot be founded on monolithic definitions. Otherwise, the entire continent would fall under the rule of one homogeneous culture. (shrink)

This article offers a defense of the theoretical foundations of Conceptual History. While Conceptual History has successfully established itself as an historical discipline, details in the philosophy of language that underpin Conceptual History continue to be opaque. Specifically the definition of what constitutes a “basic concept” remains problematic. Reinhart Koselleck famously claimed that basic concepts are “more than words,” but he never spelled out how these abstract entities relate to words or can be subject to semantic transformation. I (...) argue that to clarify the definition of what constitutes a basic concept we should turn to the functionalist and inferentialist philosophy of Wilfrid Sellars. By viewing historical sources as partaking in what Sellars calls the ‘game of giving and asking for reasons,’ Conceptual History can accurately trace the semantic changes of basic concepts and thus offer an important tool to the historical discipline. (shrink)

The paper explains and differentiates the concept of ‘fact’ in the legal setting. Fact and evidence, fact/falsity distinguished; fact and law considered -- a real difference or a pragmatic device? Questions of fact and degree considered, in themselves and in the context of jury trial and of appeals. Primary fact, factual inferences from primary fact, questions of classification of fact are considered. Whether inference is supported by evidence, and whether classification is correct may be questions of law. Issues of (...) fact and opinion, fact and comment, relative to freedom of speech, defamation etc: no clear distinction available. Legal problems concerning absence of workable distinctions. (shrink)

in Encyclopedia of Consciousness, ed. William P. Banks, Amsterdam: Elsevier, forthcoming in 2009.

Always connect—that is the imperative of today’s media. But what about those moments when media cease to function properly, when messages go beyond the sender and receiver to become excluded from the world of communication itself—those messages that state: “There will be no more messages”? In this book, Alexander R. Galloway, Eugene Thacker, and McKenzie Wark turn our usual understanding of media and mediation on its head by arguing that these moments reveal the ways the impossibility of (...) communication is integral to communication itself—instances they call excommunication. In three linked essays, _Excommunication_ pursues this elusive topic by looking at mediation in the face of banishment, exclusion, and heresy, and by contemplating the possibilities of communication with the great beyond. First, Galloway proposes an original theory of mediation based on classical literature and philosophy, using Hermes, Iris, and the Furies to map out three of the most prevalent modes of mediation today—mediation as exchange, as illumination, and as network. Then, Thacker goes boldly beyond Galloway’s classification scheme by examining the concept of excommunication through the secret link between the modern horror genre and medieval mysticism. Charting a trajectory of examples from H. P. Lovecraft to Meister Eckhart, Thacker explores those instances when one communicates or connects with the inaccessible, dubbing such modes of mediation “haunted” or “weird” to underscore their inaccessibility. Finally, Wark evokes the poetics of the infuriated swarm as a queer politics of heresy that deviates from both media theory and the traditional left. He posits a critical theory that celebrates heresy and that is distinct from those that now venerate Saint Paul. Reexamining commonplace definitions of media, mediation, and communication, _Excommunication_ offers a glimpse into the realm of the nonhuman to find a theory of mediation adequate to our present condition. (shrink)

Theoretical concepts that explain transnational mass or social communication are rather unsophisticated. After twenty years of research on media ‘globalization’, academic thinking in this field is still vague and definitely requires more effort. One reason as to why theory is so unconvincing is that most researchers are experts for the ‘translocal’ but not for the ‘local’. Our language skills and methodologies are particularly limited when we try to understand if and how transnational media do or do not affect (...) non-Western societies. To get out of this methodology trap we need a better integration of media studies and the so-called area studies. Currently, media and communication studies, despite all efforts, are ‘international’ only in a very limited sense. There is a dire need for better integration of Asian, African, Latin American, North African and Middle Eastern media studies into theoretical debates. (shrink)

This paper side-steps the question of whether ‘the’ concept of sport exists, or can be usefully analysed. Instead, I try to explain the much more modest aim of exhibition-analysis, which is to seek a description of an actually existing example of some concept of sport internal to a normative position. My example is that of Olympic-sport. I try to set out its logically necessary conditions, which of course are conditioned by its context within a theory that emphasises the (...) values of formal competition, citius-altius-fortius, and excellence in contest, as well as rule-based procedural values related to fairness, justice and equality. In so doing, I readily accept that other kinds of sport can be similarly analysed, and I do not press the value claims of Olympic-sport. Instead, I try to show how Olympic-sport, properly construed, can accommodate the concerns of my critics with regard to sport’s play and game-like characteristics. (shrink)

One of the most pleasurable aspects of video games is their ability to induce immersive experiences. However, there appears to be a tentative conceptualization of what an immersive experience is. In this short review, we specifically focus on the terms of flow and immersion, as they are the most widely used and applied definitions in the video game literature, whilst their differences remain disputable. We critically review the concepts separately and proceed with a comparison on their proposed differences. We conclude (...) that immersion and flow do not substantially differ in current studies and that more evidence is needed to justify their separation. (shrink)

The contemporary Platonists in the philosophy of mathematics argue that mathematical objects exist. One of the arguments by which they support this standpoint is the so-called Enhanced Indispensability Argument (EIA). This paper aims at pointing out the difficulties inherent to the EIA. The first is contained in the vague formulation of the Argument, which is the reason why not even an approximate scope of the set objects whose existence is stated by the Argument can be established. The second problem is (...) reflected in the vagueness of the very term indispensability, which is essential to the Argument. The paper will remind of a recent definition of the concept of indispensability of a mathematical object, reveal its deficiency and propose an improvement of this definition. Following this, we will deal with one of the consequences of the arbitrary employment of the concept of indispensability of a mathematical theory. We will propose a definition of this concept as well, in accordance with the common intuition about it. Eventually, on the basis of these two definitions, the paper will describe the relation between these two concepts, in the attempt to clarify the conceptual apparatus of the EIA. (shrink)

Introduction : why worry about dignity, honor, and values -- Escape from dignity to honor : an overview -- The honor game -- Divine human glory : in the image of God -- The concept of dignity that underlies human rights -- Respect : the value of our singularity -- Escape from dignity and respect.

The United States has a current population of approximately 313.9 million people. In 2013, more than 600 million users had active accounted on Qzone, China’s largest social media site (Millward 2013). Although discussions of social media tend to assume American or European users, social media is a worldwide phenomenon, and different locales bring different concerns to bear on social media ethics. China not only leads the world in terms of sheer numbers of users, but also has (...) the most active environment for social media, ranging from instant chat platforms like QQ to blogs, microblogs, social networking sites, and gaming platforms. Chinese users also spend approximately 40 percent of their time online on social media sites (Chiu, Ip, and Silverman 2012_. Given this, inquiries into social media ethics should involve China (and other non-Anglo-European locales and concerns). This chapter is split into two parts: part I draws on distinctly Chinese philosophical conceptions of living well in order to provide a cultural recontextualization of some of the questions associated with social media and ethical development, and to hopefully enrich larger discussions of social media ethics; part II considers the contemporary situation of social media in China, what social media actually looks like in China, and some of the political concerns surrounding social media in China. (shrink)

Interpretation -- Introduction -- Interpreting Plato -- The political culture of Plato's early dialogues -- Dialogue -- Character and history -- The mouthpiece principle -- Forms of evidence -- Desire -- Socrates and eros -- The subjectivist conception of desire -- Instrumental and terminal desire -- Rational and irrational desires -- Desire in the critique of Akrasia -- Interpreting Lysis -- The deficiency conception of desire -- Inauthentic friendship -- Platonic desire -- Antiphilosophical desires -- Knowledge -- Excellence as wisdom (...) -- The epistemic unity of excellence -- Dunamis and technê -- Goodness and form -- The epistemological priority of definitional knowledge -- Ordinary ethical knowledge -- Method -- The Socratic fallacy -- Socrates' pursuit of definitions -- Hupothesis -- Two postulates -- The geometrical illustration -- Geometrical analysis -- The method of reasoning from a postulate -- Elenchus and hupothesis -- Knowledge and aitia -- F-conditions -- Cognitive security -- Aporia -- Forms of aporia -- Dramatic aporia -- The example of Charmides -- Charmides as autobiography -- The politics of Sôphrosunê -- Critias' Philotimia -- Self-knowledge and the knowledge of knowledge -- Knowledge of knowledge and knowledge of the good -- Philosophy and the polis. (shrink)

PurposeThere are a lot of discussions about privacy in relation to contemporary communication systems (such as Facebook and other “social media” platforms), but discussions about privacy on the internet in most cases misses a profound understanding of the notion of privacy and where this notion is coming from. The purpose of this paper is to challenge the liberal notion of privacy and explore foundations of an alternative privacy conception.Design/methodology/approachA typology of privacy definitions is elaborated based on Giddens' theory of (...) structuration. The concept of privacy fetishism that is based on critical political economy is introduced. Limits of the liberal concept of privacy are discussed. This discussion is connected to the theories of Marx, Arendt and Habermas. Some foundations of an alternative privacy concept are outlined.FindingsThe notion of privacy fetishism is introduced for criticizing naturalistic accounts of privacy. Marx and Engels have advanced four elements of the critique of the liberal privacy concept that were partly taken up by Arendt and Habermas: privacy as atomism that advances; possessive individualism that harms the public good; legitimizes and reproduces the capitalist class structure; and capitalist patriarchy.Research limitations/implicationsGiven the criticisms advanced in this paper, the need for an alternative, socialist privacy concept is ascertained and it is argued that privacy rights should be differentiated according to the position individuals occupy in the power structure, so that surveillance makes transparent wealth and income gaps and company's profits and privacy protects workers and consumers from capitalist domination.Originality/valueThe paper contributes to the establishment of a concept of privacy that is grounded in critical political economy. Owing to the liberal bias of the privacy concept, the theorization of privacy has thus far been largely ignored in critical political economy. The paper contributes to illuminating this blind spot. (shrink)

Sets are central to mathematics and its foundations, but what are they? In this book Luca Incurvati provides a detailed examination of all the major conceptions of set and discusses their virtues and shortcomings, as well as introducing the fundamentals of the alternative set theories with which these conceptions are associated. He shows that the conceptual landscape includes not only the naïve and iterative conceptions but also the limitation of size conception, the definite conception, the stratified conception and the graph (...) conception. In addition, he presents a novel, minimalist account of the iterative conception which does not require the existence of a relation of metaphysical dependence between a set and its members. His book will be of interest to researchers and advanced students in logic and the philosophy of mathematics. (shrink)

This book introduces the critical concepts and debates that are shaping the emerging field of game studies. Exploring games in the context of cultural studies and media studies, it analyses computer games as the most popular contemporary form of new media production and consumption. The book: Argues for the centrality of play in redefining reading, consuming and creating culture Offers detailed research into the political economy of games to generate a model of new media production Examines the (...) dynamics of power in relation to both the production and consumption of computer games This is key reading for students, academics and industry practitioners in the fields of cultural studies, new media, media studies and game studies, as well as human-computer interaction and cyberculture. (shrink)

I n order to appreciate properly what we are doing in this book it is necessary to realize that our approach to linguistic theorizing differs from the prevailing views. Our approach can be described by indicating what distinguishes it from the methodological ideas current in theoretical linguistics, which I consider seriously misguided. Linguists typically construe their task in these days as that of making exceptionless generalizations from particular examples. This explanatory strategy is wrong in several different ways. It presupposes that (...) we can have "intuitions" about particular examples, usually examples invented by the linguist himself or herself, reliable and sharp enough to serve as a basis of sharp generalizations. It also presupposes that we cannot have equally reliable direct access to general linguistic regularities. Both assumptions appear to me extremely dubious, and the first of them has in effect been challenged by linguists like Dwight Bol inger. There is also some evidence that the degree of unanimity among linguists is fairly low when it comes to less clear cases, even in connection with such relatively simple questions as grammaticality (acceptability). For this reason we have tried to rely more on quotations from contemporary fiction, newspapers and magazines than on linguists' and philosophers' ad hoc examples. I also find it strange that some of the same linguists as believe that we all possess innate ideas about general characteristics of humanly possible grammars assume that we can have access to them only via their particular consequences. (shrink)

"Spiritual well-being" was coined in 1971 and has since become a popular concept in modern psychology studies. Multidimensional investigations covering the concept's structure, theoretical foundations, interaction areas, and development, on the other hand, have been limited. In response to this scarcity, the research aims to examine the concept of "spiritual well-being" from all of these perspectives. It also seeks to provide a new definition of "spiritual well-being." Another contribution of the study to the "spiritual well-being" literature (...) is that it attempts to explain the framework and theoretical basis of the term. This study was mostly based on an analysis of relevant literature. Literature data on how the thought began and developed were gathered for this purpose. The semantical relationship between "well-being" and "spirituality" is investigated. Following that, the concept's content, areas of interaction, approaches, and theoretical foundations with which it is closely associated were defined as well as the concept's relationship with spirituality was stressed. Some works in the subject's literature have also been analytically evaluated, with a particular emphasis on their contributions to the enhanced relationship of "spiritual well-being" with other domains, as well as the conceptualization process of it. The research findings characterize spiritual well-being as the acquisition of well-being from spiritual areas to which individuals related. The contributions of spirituality to "well-being" underline the significance of "spiritual well-being" in the Psychology of Religion. "Spiritual well-being" is a concept used to determine the original reflections and good effects of these contributions on individuals, as well as to measure various types of "well-being.". (shrink)

Understanding Institutions proposes a new unified theory of social institutions that combines the best insights of philosophers and social scientists who have written on this topic. Francesco Guala presents a theory that combines the features of three influential views of institutions: as equilibria of strategic games, as regulative rules, and as constitutive rules. -/- Guala explains key institutions like money, private property, and marriage, and develops a much-needed unification of equilibrium- and rules-based approaches. Although he uses game theory concepts, the (...) theory is presented in a simple, clear style that is accessible to a wide audience of scholars working in different fields. Outlining and discussing various implications of the unified theory, Guala addresses venerable issues such as reflexivity, realism, Verstehen, and fallibilism in the social sciences. He also critically analyses the theory of “looping effects” and “interactive kinds” defended by Ian Hacking, and asks whether it is possible to draw a demarcation between social and natural science using the criteria of causal and ontological dependence. Focusing on current debates about the definition of marriage, Guala shows how these abstract philosophical issues have important practical and political consequences. -/- Moving beyond specific cases to general models and principles, Understanding Institutions offers new perspectives on what institutions are, how they work, and what they can do for us. (shrink)

Ralph Johnson's Manifest Rationality (2000) is a major contribution to the field of informal logic, but the concept of argument that is central to its project suffers from a tension between the components that comprise it. This paper explores and addresses that tension by examining the implications of each of five aspects of the definition of ‘argument’.

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (2000), (...) which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (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)

The article examines the dynamics and change of the contemporary public sphere caused by the emergence of digital media and their transformative impact on social life and communicative professions. For this purpose the stages in Jürgen Habermas's theory of the public sphere are traced, and, the main concepts in his two main works, dedicated to the classical public sphere (1962) and the one formed under the influence of digital media (2022), are analysed. The authors examine importance of this (...) transformation on the democratic process, the platformization of the media and its influence in modern society, as well as the problems of technology in the field of social networks. The article undertakes an attempt to build a theoretical framework for explaining the development of the contemporary public sphere in the conditions of accelerated change in communication technologies. (shrink)

Without knowing the rules of the game in a specific area qualified ethical decisions within are simply not possible. Therefore, a fundamental understanding of the phenomenon 'media' is a prerequisite for the ‘usablity’ of any media ethics. This understanding of the very basis of media is introduced by the notion of space: media is the space where the presentation of something is possible – formally that space fulfils the criteria of a Hilbert space; more common is (...) this concept in the notion of cyberspace e.g.. As presentations do not exist separated from each other but are connected, are linked, thus acting in the media can be understood as moving in the space of communication, following the links. This understanding leads to fundamentally new ethical categories: media ethic is the challenge of ethically designing the communicative space. The appropriate ethical approach for this task can be found in Wittgenstein's notion of 'use'. That overcomes the 'blind' application of ethical norms to categorical distinctive descriptions, which is very common through the term 'applied ethics' though it can be easily proved as aporetic. The investigation in what the ethical 'ought' basically could mean shows that there is no normative meaning without a descriptive context: 'to ought' always means 'to ought' in a certain situation, be it more common or more specific. Ethically right then means: one can decide on the basis of good reasons to do the right in this or that situation. And ethics finally is the quest to categorize, structure and systemize these right decisions by the means of creating a comprehensive theory. These are the limits and the dignity of ethics as a scientific scholarship and media ethics in particular. (shrink)