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

Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. (...) It argues that virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world, while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography. (shrink)

AAA videogames often offer expansive experiences to the millions who engage with the medium, but they are vulnerable to disruption from neoliberal structures. The Corruption of Play explores how neoliberal ideology corrupts play in AAA videogames by creating conditions in which play becomes unbound from leisure, allowing play to be understood, undertaken, and assessed in economic terms, and fundamentally undermining the nature of play. Providing a cutting-edge and innovative approach to this problem, McMahon uses cognitive mapping to make neoliberalism (...) visible in play-space, showcasing a new way of seeing and understanding how play is enabled and how the player forms an understanding of themselves by it. How does the player form their sense of self in the videogame? What level of agency does the player have? How are AAA videogames consumed and what is the extent of the corruption of play? Offering a timely level-up to the existing critical work on videogames, McMahon's revelations that play in AAA videogames does not often occur under ideal conditions due to the influence of neoliberal ideology are a captivating read for communication and media scholars interested in videogames. Understanding that play should be a core activity, and a natural barrier to market and economic logics, McMahon sets the scene for equipping us to understand how the process of neo liberalisation can be resisted. (shrink)

The object of research is to clarify the connections between non-anthropogenic mind and culture as sign systems. Investigation of such an object discloses the perspectives on construction of the generalized model of mind and can help to build the bridge between traditional and digital humanities. The subject of traditional humanities is natural human activity; the subject of digital humanities is computer-based forms of activity and communication. Finding signs created not only by human but also by natural circumstances helps (...) to define the sign system that unites the natural (non-anthropogenic) and artificial kinds of mind. Methodology of research includes the principles of semiotics previously developed by Charles Peirce and Ferdinand de Saussure and expanded by Yuri Lotman and Boris Uspensky. Semiotic interpretation of mind as the object of culture allows the building of a generalized model of mind as one of textual constructions, presenting the history of mankind as the replacement of natural events by secondary models. The author concludes that the revealing of a generalized model of mind opens new opportunities for the construction of the intelligent activity strictly interpreted as special sign systems. Semiotic studies interpret culture as a rationality making machine, and activity of mind is caused by the work of such a machine. Because of that, if traditional meaning sign systems were estimated as human-made kinds of complex of primary signs, then modern statements help to see the absence of an irresistible limit to interpret such complex as a nature-made but non-anthropogenic phenomenon. (shrink)

This article addresses traditional perceptions about photography's position between nature and culture and concomitant schools of thinking focusing pre-dominantly on the photographic image as a form of visual representation. Aiming to develop an alternative perspective it considers a biosemiotic approach and turns to Jakob von Uexküll's model of subjective sentient worlds that critically dissolves the perceived dualism between nature and culture that has also underpinned most theoretical thinking about photography in the past. Today photography is largely (...) embedded into social media platforms and their interlinked digital networks, which holds far-reaching consequences for a medium that in this current form can only be fully understood if it is considered as a form of embodied material practice. Aiming to understand some of the complex manifestations this technical evolution entails the article further considers the relevance of recent non-representational concepts arising out of cognition theory and cultural geography and uses the 'selfie' as a 'theoretical object'. (shrink)

This study examined the link between employees’ adult attachment orientations and perceptions of line managers’ interpersonal justice behaviors, and the moderating effect of national culture. Participants from countries categorized as low collectivistic and high collectivistic completed an online survey. Attachment anxiety and avoidance were negatively related to interpersonal justice perceptions. Cultural differences did not moderate the effects of avoidance. However, the relationship between attachment anxiety and interpersonal justice was non-significant in the Southern Asia cultural cluster. Our findings indicate the (...) importance of ‘fit’ between cultural relational values and individual attachment orientations in shaping interpersonal justice perceptions, and highlight the need for more non-western organizational justice research. (shrink)

With the notion of the form-of-life as a counter-figure to the notion of bare life, Agamben seems to invite us to place at the center of a critical theory of capitalism a reflection on bios. To envisage a form of emancipation that unfolds against bare life suggests, at first glance, another relation to the living body. Such a gesture seems to be inspired by the desire to think a natural life that would also be a politically qualified life. The idea (...) with which Agamben closes the Homo Sacer series, namely that of a use of bodies, also gestures in this direction. In this paper I show how the categories of bare life and of the use of bodies fail to live up to their promise, before demonstrating in what sense the idea of a subtraction of law as a political project which subsumes all others ends up weakening the critical potential of the idea of a form-of-life that is to be realised against the force of production of bare lives. (shrink)

Chance-based gambling has been a recurrent cultural activity throughout history and across many diverse human societies. In this paper, I combine quantitative and qualitative data and present a cultural evolutionary framework to explain why the odds in games of chance in premodern China appeared “designed” to ensure a moderate yet favorable house advantage. This is especially intriguing since extensive research in the history of probability has shown that, prior to the development of probability theory, people had very limited understanding of (...) the nature of random events and were generally disinclined to think mathematically about the frequency of their occurrence. I argue that games of chance in the context of gambling may have culturally evolved into their documented forms via a process of selective imitation and retention, and neither the customers nor the gambling houses understood the probability calculus involved in these games. (shrink)

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)

This paper discusses the nature and limits of player embodiment within digital games. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural forms of movement into gaming worlds through mimetic control devices. We examine recent literature in the area of immersion and presence in digital gaming; Calleja’s (2011) recent Player Involvement Model of gaming is discussed and found to rely on a probematic notion of embodiment (...) as 'incorporation'. We go on to further reflect on the nature of player involvement in digital gaming environments by applying insights from Maurice Merleau-Ponty's Phenomenology of Perception. It is argued that digital embodiment differs so significantly from primordial embodiment that any idea of total immersion is simply fantasy. We subsequently argue that digital game media nonetheless provide us with unique opportunities for exploring the nature of distinctively human forms of embodiment, and so we need more complete and more reliable phenomenological descriptions of the experiences associated with computer games. (shrink)

This study provides a comparison of the ethical perceptions of managers and non-managers, including professionals, teachers, sales persons and clerks, as well as technical and plant workers. Data of working individuals were collected in Hong Kong in the form of questionnaires which contain vignettes of questionable ethical issues. Factor analysis was used to identify the major ethical dimensions which were then used as the basis of comparison. Regression analyses were used to study the effect of various variables on ethical perceptions (...) in terms of the identified dimensions. Our study reviews that managers tend to possess deontological views that are more ethical than that found in other occupations. The gap between managers and professionals in perceiving unethical behavior is narrower compared to that between the former and individuals in other occupations. The acceptability of unethical behavior tends to decline with income. Besides, there are indications that people working in non-profit organizations tend to have higher ethical standards. Based on our results, recommendations are made to improve the ethical culture of organizations. (shrink)

The Reign of Quantity gives a concise but comprehensive view of the present state of affairs in the world, as it appears from the point of view of the 'ancient wisdom', formerly common both to the East and to the West, but now almost entirely lost sight of. The author indicates with his fabled clarity and directness the precise nature of the modern deviation, and devotes special attention to the development of modern philosophy and science, and to the part (...) played by them, with their accompanying notions of progress and evolution, in the formation of the industrial and democratic society which we now regard as 'normal'. Guénon sees history as a descent from Form (or Quality) toward Matter (or Quantity); but after the Reign of Quantity-modern materialism and the 'rise of the masses'-Guénon predicts a reign of 'inverted quality' just before the end of the age: the triumph of the 'counter-initiation', the kingdom of Antichrist. This text is considered the magnum opus among Guénon's texts of civilizational criticism, as is Symbols of Sacred Science among his studies on symbols and cosmology, and Man and His Becoming according to the Vedanta among his more purely metaphysical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 327-341 [Access article in PDF] The Rise of Postmodernisms and the "End of Science" Gerald Holton * [Errata]In a remarkable essay, "The Apotheosis of the Romantic Will," Isaiah Berlin leads up to a key question facing historians of ideas today. He begins with the observation that beliefs have entered our culture that "draw their plausibility" from a deep and radical (...) revolt against the central tradition of Western thought. That central tradition rested on the "pillars of the social optimism," which had found its fullest expression in the Enlightenment, "that the central problems of men are, in the end, the same throughout history; that they are in principle solvable; and that the solutions form a harmonious whole." 1But these pillars, Berlin notes, "came under attack toward the end of the eighteenth century by a movement first known in Germany as Sturm und Drang, and later in the many varieties of romanticism... and the many contemporary forms of irrationalism of both the right and the left, familiar to everyone today." In our time, in the alleged absence of "objective rules," the new rules are those made up by the rebels: "Ends are not... objective values," and "ends are not discovered at all but made, not found but created." And he concludes: "The prophets of the nineteenth-century predicted many things... but what none of them, so far as I know, predicted was that the last third of the twentieth century would be dominated by... the enthronement of the will of individuals or classes, and the rejection of reason and order as being prison houses of the spirit. How did this begin?" 2 As if to ensure that the question be considered central to the understanding of our age, Berlin adds that the explosion of irrationalism is one of the "outstanding characteristics of our century, the most demanding of explanation [End Page 327] and analysis." 3 Elsewhere he also appeals to seek the causes of "what appears to me to be the greatest transformation of Western consciousness, certainly in our time." 4Focusing my presentation chiefly on the aspects concerning science, one may well rephrase Berlin's question: how did it come about that we have passed again in many areas into what Susan Haack calls an "Age of Preposterism?" 5 -- that, for example, scientists, who are now in a period of spectacular advances of knowledge across the board, find a whole array of highly placed academics and journalists asserting that scientists' hopes to reach objective truths (two highly suspect words now) are in vain because there is no difference between the laws scientists find in nature and the arbitrary rules that govern baseball games; that science is "just one language game among others"; that we must "abolish the distinction between science and fiction"; that "The natural world has a small or non-existent role in the construction of scientific knowledge"; and in any case, as the title of a current bestseller has it, we are at The End of Science: Facing the Limits of Knowledge in the Twilight of the Scientific Age." 6These are only a few glimpses, indicators of a stream of derogations, issuing from academe and the media. But happily, my concern here is not with the details of the current manifestation of what has been called the war on science but rather with examples of its historic lineage, with earlier phases of what Isaiah Berlin called the "Romantic Revolt." 7 Here we must begin our analysis by recognizing that any such multifaceted movement is best understood as a reaction against what went before, against what became so unsatisfactory or even intolerable as to cause the revolt.Historically, the most obvious and early reaction of this sort was the response to the breakthroughs in the seventeenth century that formed science and simultaneously signaled the great rupture from the ancient worldview, in which the individual, in principle, had been able to be both intellectually and spiritually comfortable. As one of the direct ancestors of romanticism, Johann Gottfried Herder (1744... (shrink)

As rational agents, we are engaged in practices of mutual accountability. We produce reasons that explain and justify what we do. In producing reasons, we address demands of explanation and justification. Where do such demands come from? This is one of the central questions of this chapter. My contention is that in the attempt to make sense of and justify their actions, rational subjects construct reasons in an ideal dialogue with others. In the practice of exchanging reasons, rational subjects address (...) others under different descriptions. To assess the normative force of reasons, it is thus relevant to ask to whom reasons are addressed. On some philosophical accounts, reasons have a local authority insofar as they address others as members of the same community. This is the particularistic view. By contrast, on some other philosophical accounts, reasons are public and universal and address others as equals. This is the universalistic view. I deploy this distinction to articulate some issues about how to understand and measure the normative relevance and impact of web communication in the recent development of antimafia culture. The basic claim is that web communication broadens the scope of the relevant others and thus allows for reasons that have appeal independently of territorial belonging. The focus of the argument will be on the practices of “placing oneself in a space” as distinct sources of normativity. While the argument I produce is largely speculative and exploratory, I hope that it suffices to call attention to some aspects of the antimafia movement, which deserve closer scrutiny, such as the nature of the resources available because of the impact of web communication. As an example of this communication, I take into consideration Libera, an important non-profit organization, which fights the mafia by making a particularly effective use of social networks in building a virtual community of empowerment. (shrink)

Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings (...) of different shapes and require sterile conditions of a bioreactor and constant care in order to survive. The article explores how bioart-works are always already intertwined with multiple (bio)technologies and techniques of care and labour, forming specific feminist technoecologies that challenge conventional bioscientific and cultural imaginaries of embodiment and the relation between physis and techné. TC&A’s sculptures expose life as the non/living: the processual enmeshment of the organic and inorganic, living and non-living, and growth and decay. The article argues that thinking with and through the feminist technoecologies of bioart mobilises philosophical inventiveness: not only does it problematise the entwinement of technology and biomatter and of culture and nature, but it also prompts us to rethink the ontology of life. (shrink)

In On the Genesis of Thought and Language, linguist Alexey Koshelev explores fundamental questions of how human concepts arise in a child, why concepts appear in a child before words, the genesis of language, and why there are so many languages. Chapter One introduces the fundamental dichotomy "visual (exogenous) vs. functional (endogenous)" cognitive units; these units are used to give non-verbal definitions of mental representations of various objects, actions, and situations. In particular, definitions of such concepts as GLASS, CHAIR, BANANA, (...) TREE, LAKE, RUN, and some others are given. Chapter Two discusses how children form concepts, hierarchical relationships, and propositions (conceptual 'utterances'). It is shown that the initial units of the child's representation of the world are pre-conceptual cognitive units--mental representations of whole situations. In the course of two consecutive cycles in the child's cognitive development, these units transform into (a) primary notions--object and motor concepts, and (b) binary role relationships. Together, they constitute the elementary language of thought which, in the process of thinking, is used to build conceptual structures--propositions. It is further demonstrated that, immediately after the formation of thought, the child begins to develop his native language in which concrete and motor concepts become initial meanings of nouns and verbs, while propositions become the meanings of the child's expressions. The chapter concludes with a contrastive analysis of the proposed approach and Aristotle's and Chomsky's views on thought and language. Chapter Three analyzes how a community's culture affects its language. It is demonstrated that the progress of a community, the main constituent of the civilizational component of its culture, enhances the development of the content component of language by extending the range of its lexical and grammatical meanings. In the context of this analysis, Daniel Everett's (2008) hypothesis that culture affects language structure is discussed. In the subsequent sections, models of the development of human and social activity are offered. These models comprise three components: Activity (main component), Thought, and Language (auxiliary components that ensure the successful realization of activities). The models are illustrated with examples of some concrete societies. (shrink)

Watching other people play videogames —a.k.a. ‘spectator gaming’— is a widespread practice. Yet, it is considered by some as an inadequate form of engagement with games. In this paper, I show that the strongest objection to spectator gaming relies on the claim that some properties of videogames are better, if not exclusively, accessible to the player. After that, I propose two replies to this challenge. The first is that ‘secondary players’, i.e., individuals who indirectly take part in the (...) game, can access the relevant properties. The second reply is that even paradigmatic spectators may engage in simulated play, and therefore, access these properties as well. (shrink)

ArgumentAt the turn of the twentieth century the Norwegian market flourished with milk products intended for infants. But medical doctors argued in favor of “going back to nature”: Women ought to breastfeed their children. This paper explores how a re-naturalization of mother's milk emerged within experimental medicine. The prescribed “natural way” did not develop within medicine alone. The paper demonstrates how the natural developed within a relational space of different versions of milk: the free-market milk, the dirty and decaying (...) milk, and the non-nutritional milk. But why did Norwegian mothers, in contrast to the development in for instance the US, continue to breastfeed their infants? Drawing on the work of the leading pediatrician Theodor Frølich, the paper suggests that this may in part be explained by the development of a distinct version of care: A matter-of-fact, pragmatic and flexible version of care that nevertheless came to enact mother's milk as the supreme form of nutrition to which there was hardly a competing or healthy alternative. “The natural way” became a thought style and was made integral to everyday culture. (shrink)

This is a draft of a paper that explores the nature of belief in structure of human consciousness. Are beliefs necessarily embedded in a position? It also aims at exploring the relation between positions and authentic mode of being.

The problem considered in the paper is whether the stereotype of zerosum games is applicable to present-day discussions on environmental threats. Decision theory could be considered as a tool to substantiate the philosophical notion of rationality of actions and in this aspect, it could be a good methodological instrument of philosophical economics. Decision theory can be used to assess positions in problem situations and predict possible solutions in terms of gains and losses. This can also be applied to human actions (...) in relation to nature. In the paper this theory is used to assess the moral and political validity of the positions of developing countries against the main claims of the forceful countries for unified solutions for protection of the natural environment. Justified solutions in the field of environmental security can be sought only by overcoming the economic and social imbalances and corporate interests. The most justified perspective for international relations and in searching for solutions of present-day social and ecological conflicts is to move from the form of a zero-sum game, in which the powerful countries win and the poor ones invariably lose, to a true non-zero-sum game suitable for implementing cooperative strategies. This type of development can become a reality only on the basis of a new social contract, based on pluralism and balance of interests, on the scale of all humanity. (shrink)

_Purpose._ The purpose of this research is to analyse and systematize modern philosophical and anthropological ideas about the nature, essence, causes and sources of collective violence. _Theoretical basis._ Given the complexity and multifaceted nature of the phenomenon of violence, the authors used a range of philosophical and general scientific research methods. In particular, the comparative method helped to identify the main advantages and disadvantages of using philosophical and anthropological approaches to studying the nature and patterns of violence (...) in the social environment. The use of the systemic and structural-functional methods contributed to a better understanding of the structure, features, mechanisms and criteria for ethical justification of the permissibility of collective violence. The psychological approach made it possible to analyse the role of social dissatisfaction, disappointment, relative deprivation and frustration in the process of radicalization of individuals and their readiness to use violence. _Originality._ The originality of this research lies in the application of modern analytical approaches to the study and philosophical understanding of the phenomenon of violence. It has been proven that at the current stage of social development, the following non-traditional forms of violence are becoming widespread: structural, symbolic, cultural, and psychological. It has been established that the main sources of collective violence are value, cultural, ideological and structural contradictions, as well as socio-psychological dissatisfaction, economic inequality and discrimination. _Conclusions._ Throughout history, violence has been an integral part of spiritual, social, value and economic transformations. The study of such a complex phenomenon requires the creation of an effective interdisciplinary theory that would take into account various anthropological, social, philosophical, psychological, physiological and biological dimensions and forms of its use. That is why there is a need to further improve scientific theories and approaches to studying the nature, forms and sources of violence. Taking advantage of a comprehensive approach, we have been able to establish that violence is a form of social influence that involves the use of physical force against individuals, social groups or institutions to cause physical, mental or moral harm and to subordinate their behaviour and will. (shrink)

Despite the compelling subjective experience of executive self-control, we argue that ‘consciousness’ contains no top-down control processes. We propose that ‘consciousness’ involves no executive, causal or controlling relationship with any of the familiar psychological processes conventionally attributed to it. In our view all psychological processing and psychological products are non-conscious. In particular, we argue that all ‘contents of consciousness’ are generated by and within non-conscious brain systems in the form of a continuous self-referential personal narrative that is not directed or (...) influenced in any way by the ‘experience of consciousness’. This continuously updated personal narrative arises from selective ‘internal broadcasting’ of outputs from non-conscious executive systems that have access to all forms of cognitive processing, sensory information and motor control. The personal narrative provides information for storage in autobiographical memory and is underpinned by constructs of self and agency, also created in non-conscious systems. The experience of consciousness, is seen as a passive accompaniment to the non-conscious processes of internal broadcasting and the creation of the personal narrative. In this sense personal awareness is analogous to the rainbow which accompanies physical processes in the atmosphere but exerts no influence over them. Though at an individual level it is an end-product created by non-conscious executive systems, the personal narrative serves the powerful evolutionary function of enabling individuals to communicate (externally broadcast) the contents of internal broadcasting. This in turn allows the recipients to generate potentially adaptive strategies, such as predicting the behavior of others and underlies the development of social and cultural structures, that promote species survival. Consequently, it is the capacity to communicate to others the contents of the personal narrative that confers an evolutionary advantage – not the experience of consciousness (personal awareness) itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Duality and Non-Duality in Christian Practice:Reflections on the Benefits of Buddhist-Christian Dialogue for Constructive TheologyWendy FarleyThe question before us is the desirability of Buddhist-Christian dialogue in the work of (what Christians call) constructive theology. As a feminist theologian whose work is ever more deeply shaped by such a dialogue, my immediate answer is an unequivocal yes.1 This dialogue fits a general pattern over two thousand years in which theologians (...) have drawn from the wisdom of other traditions or cultures to better understand the mysteries of human experience. Without neo-Platonism and Aristotle there could hardly have been anything we recognize as Christian theology. Without pre-Christian Irish religion, there would be no Saint Brigit or Celtic Christianity. Without phenomenology, process, and Marxist philosophy the greatest works of twentieth-century Christian thought would not exist. Christianity, like all religions, is a moving river changed by time and culture and nearly as interiorly diverse as its members. The dialogue with Buddhism might be seen as a contemporary example of Christianity's openness to exchange with other ways of thinking that broadens and deepens its best insights. It is perhaps analogous to Origen's reliance on neo-Platonism or Thomas Aquinas's inspiration by the rediscovery of Aristotle.2The porous boundaries between Christianity and its culture open it to wisdom beyond itself but they also open it to cruelty and ignorance. Nothing protects religions from participating in the human condition and thus the prejudices and power structures that mutilate human society. Consumer culture and oppressions by class, ethnicity, and gender are seamlessly incorporated into Christian identity. The tacit synthesis of a culture's values with those of a religion neutralizes possible critique and can elevate a society's oppressions to a sacred duty. For this reason, too, dialogue with Buddhism is important to call Christianity back to its ethical moorings in the ideal of universal love and compassion.Religions are porous to the world around them, but they tend to conceal this from themselves and often imagine themselves to be not only untainted but also uniquely [End Page 135] qualified to mediate salvation. Religions provide human beings with language and practice through which dimensions of reality that cannot simply be read off of nature or experience are (in some sense) encountered. This is their great gift. The difficulty of religions is that tradition can become an end in itself. Because a tradition really does offer meaning and tools for transformation it is easy to slip into the existential posture of so idealizing a tradition that it seems in some direct and exclusive way to correlate to ultimate truth. The curvature of the ego onto itself, so attached to its own pain and pleasure that everything else seems a mere shadow, moves from the microcosm of the self to the macrocosm of religious tradition. The particular religion—or that element within it with which I identify—becomes identical with sacred reality. In the hostility to other religions characteristic of many Christians we see the illusion of egocentrism in its religious form. Paul Tillich described this tendency to absolutize itself as the demonic distortion of religion.3 Religious dialogue is a potent medicine against this overattachment to one's own tradition.These different senses in which a religion integrates into itself the wisdom and illusions of its time and place create enormous diversity within a religious tradition. Root concepts within Christianity concerning soteriology, divinity, and suffering do not have any agreed upon meaning. That is, there is no "Christian" view of salvation. Gregory of Nyssa's ideal of theosis, Luther's emphasis on salvation by grace through faith, an evangelical's experience of being born again, a liberal Protestant's commitment to social justice are so diverse that they seem to represent almost different religions.In light of the malleability and interior diversity of traditions, dialogue may not be between two self-sufficient religions but between participants who inhabit their tradition in a variety of ways.4 With this in mind, I would like to experiment with practice as a basis for some kinds of dialogue. Practice is concretely located in a religious tradition and yet reflects... (shrink)

This paper explores the cultural value of desiring nature through reading the travel narratives of Val Plumwood and Alphonso Lingis with the writings of Deleuze and Guattari. As Game suggests this textual practice produces different ways of writing the social that undoes the nature/culture opposition informing popular discourses and much cultural theory. Rethinking the value of nature/culture relations has tended to be the domain of environmental philosophy. Yet a cultural analysis also has much to contribute (...) to current debates around value and identity, embodiment and representations of desire. Such a shift requires rethinking the sensory relation between self and nature through the mediation of language. Two quite distinctive experiences of awe provide texts for this analysis. In the desire to know non‐human nature as other, Lingis and Plumwood are moved by a wish to become nearer, to move beyond the bounds of an identity premised on a cultural relation of mastery over nature. These are compelling narratives, for they do not simply indulge the reader in a romantic appreciation of nature's wildness, as if nature was simply an object of aesthetic contemplation and background to the unfolding drama of human identity. These journeys involve disturbing transformations of self; Plumwood travels into the dangerous waters of the crocodile's territory in Kakadu National Park, Australia, while Lingis encounters the uninhabitable terrain of the Antarctic. The reverberating effects of awe produce a movement of becoming ‐ becoming‐animal, becoming‐nature, which contests the Hegelian desire for mastery of nature and the teleological structure of desire itself aimed at unity. Awe as a profoundly disturbing relation, threatens to undo the dominant fantasy of human identity as pure culture, separate from the realm of nature, body and materiality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

The four experiments presented support Boyer's theory that counterintuitive concepts have transmission advantages that account for the commonness and ease of communicating many non-natural cultural concepts. In Experiment 1, 48 American college students recalled expectation-violating items from culturally unfamiliar folk stories better than more mundane items in the stories. In Experiment 2, 52 American college students in a modified serial reproduction task transmitted expectation-violating items in a written narrative more successfully than bizarre or common items. In Experiments 3 and 4, (...) these findings were replicated with orally presented and transmitted stimuli, and found to persist even after three months. To sum, concepts with single expectation-violating features were more successfully transmitted than concepts that were entirely congruent with category-level expectations, even if they were highly unusual or bizarre. This transmission advantage for counterintuitive concepts may explain, in part, why such concepts are so prevalent across cultures and so readily spread. (shrink)

This paper employs Mikhail Bakhtin’s concept of heteroglossia as a frame­work to interpret internal tensions within contemporary digital games. To that end, I propose to acknowledge the multimodal character of entertain­ment software, with audial, visual, haptic, spatiotemporal and systemic elements of a game in constant interaction. But to properly understand said tensions — frequently dubbed “dissonance” in game criticism — it is im­portant to acknowledge the complex multimodal structure of games that attempt to utilize culturally-rooted ways to describe the world, (...) sometimes trying to combine several such ways at once. As a result, ‚game-languages‘ are born: ways to utilize all game components to cover the specificity of certain narrative genres, to explain the nature of the world in terms con­sistent with its ideological stance. Quite often, one game combines several game-languages, and their mutually exclusive ideologies are a source of tension and dissonance. To illustrate the issue, I describe how three pri­mary game-languages of Uncharted 3 — the language of Adventure, the language of Heroics, and the language of the Traditional Game — compete to describe an armed conflict to the player. (shrink)

This article develops a new and expanded interpretation of the typology exclusivism, inclusivism, pluralism. The proposal refines the categories of what was originally a Christian typology in order to provide a truly cross-cultural and interreligious framework to better understand and compare the most common views of religious diversity found not only in Christianity, but also in Buddhism and other religions. Although building upon Schmidt-Leukel's logical reinterpretation of the typology, the article substantially modifies his framework and understands the typology, not as (...) a comprehensive classification of possible attitudes toward other religions, but rather as an open-ended framework to clarify the nature of the most common theologies of religions that exist in reality. The new interpretation provides a more precise definition of inclusivism that does not conflate inclusivism with the affirmation of a singular maximum, thus distinguishing between absolutistic and non-absolutistic forms of inclusivism. The new interpretation introduces an intermediate position between inclusivism and pluralism called pluralistic inclusivism. The article challenges David Ray Griffin's concept of generic pluralism and proposes a new understanding of pluralism indebted to Raimundo Panikkar. (shrink)

Η εύληπτη εκπαιδευτική προσέγγιση ότι «κληρονομιά είναι οτιδήποτε θέλεις “εσύ” να διατηρηθεί για τις επόμενες γενιές» κλονίζεται στην ερώτηση «όλα όσα μας παραδίδονται από τους προγόνους μας αποτελούν μια προς διαφύλαξη κληρονομιά, εφόσον “εσύ” το αποφασίσεις;». Εκφάνσεις «βαρβαρότητας» που διασώζονται σε προγενέστερες εθιμικές πρακτικές θα μπορούσαν άραγε να αποτελέσουν στοιχεία ΑΠΚ προς διαφύλαξη; Η παρούσα εργασία επιχειρεί μια πρώτη ανίχνευση του σύνθετου αυτού θέματος. Περιπτώσεις μελέτης από τον ελληνικό και διεθνή χώρο διερευνώνται με κριτήρια αξιολόγησης τα αναφερόμενα στη Σύμβαση για (...) τη Διαφύλαξη της ΑΠΚ (UNESCO, 2003). Βάσει αυτών δεν γίνονται αποδεκτές εθιμικές πρακτικές ΑΠΚ που αναζωπυρώνουν μνήμες βίαιων συγκρούσεων μεταξύ μελών κοινότητας/κοινοτήτων, αποκλείουν με βίαιο ή/και υποτιμητικό τρόπο μέλη εξαιτίας του φύλου, της ηλικίας, της επαγγελματικής ιδιότητας, ή του σεξουαλικού τους προσανατολισμού, καθώς και εθιμικές πρακτικές που περιλαμβάνουν κακομεταχείριση ή/και βασανισμό ζώων. Η εφαρμογή των παραπάνω στην πράξη παραμένει αχαρτογράφητο πεδίο. Απαραίτητες φάσεις μιας συστηματικής μελέτης αποτελούν α) η αναγνώριση και η ευαισθητοποίηση των τοπικών κοινωνιών και του ευρύτερου κοινωνικού συνόλου για τις αξίες της ΑΠΚ, β) η έρευνα, τεκμηρίωση και αξιολόγηση των επιμέρους στοιχείων της, γ) η υποστήριξη των διαδικασιών μεταβίβασής της στις νεότερες γενιές, μέσω της τυπικής και μη εκπαίδευσης, δ) η ανάδειξη της σημασίας της σε τοπική, περιφερειακή, εθνική ή/και παγκόσμια κλίμακα. Η ΑΠΚ μετεξελίσσεται και μεθερμηνεύεται διαρκώς μέσω σύνθετων κοινωνικών και πολιτισμικών διεργασιών. Απόπειρες εξαναγκασμένης «αναβίωσης» κάποιας «αυθεντικής» ή «γνήσιας» μορφής μιας έκφανσής της συχνά αποτυγχάνουν, ενώ παραμένουν μεθοδολογικά μετέωρες. Ο ρόλος της εκπαιδευτικής διαδικασίας στην ανάπτυξη σχετικών ηθικών αρχών και κριτικής σκέψης είναι κρίσιμης σημασίας. Λέξεις κλειδιά: άυλη πολιτιστική κληρονομιά, κοινότητες, αξίες, ηθικές αρχές, εκπαίδευση For educational purposes, we may claim that heritage is whatever each one of us individually or collectively wishes to preserve and pass on to the next generation. However, should violent or other disturbing forms of expression, preserved in customary practices, be safeguarded, if the whole or part of the ‘community’ decides to do so? The present paper attempts a first approach to this complex issue. Case studies from Greece and worldwide are investigated and appraised on the basis of the Convention for the Safeguarding of the ICH (UNESCO, 2003). According to the Convention criteria, customary practices that refresh memories of violent conflicts between members of the community/communities, or exclude members with an aggressive and pejorative way because of their gender, age, professional status or sexual orientation, as well as practices involving the ill-treatment and/or torture of animals do not deserve safeguarding. The implementation of the above criteria in practice, however, remains an uncharted area. A systematic study, therefore, should: (a) include initiation, recognition and awareness on the part of local communities and societies about the values of the ICH; (b) promote research, documentation and evaluation of heritage components; (c) support the transition to the younger generations through formal and non-formal educational events; (d) highlight its importance on the local, regional, national and international context. ICH is evolving and constantly interpreted through complex social and cultural processes. Any forced attempt to revive an ‘authentic’ or ‘genuine’ version of ICH cultural expression, besides appearing fake, is methodologically challenged. The role of education in developing ethical principles and a critical approach to heritage is undoubtedly crucial. Keywords: Intangible cultural heritage, communities, values, ethical principles, education. (shrink)

Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on the trends of diversification (...) of artistic creativity. The focus of artistic expression has shifted from the depiction of direct natural objects towards the spiritual plane, which is a direct result of the creative activity of artists whose aspirations are manifested in the use of traditional Chinese ink painting in combination with new methods of figurative representation and deep understanding of spiritual content. Since ancient times, artists have actively sought to harmonize and balance the subjective and objective, as well as to achieve their organic combination. This article examines traditional Chinese painting as a source and driving force of the transformation of Chinese painting、prints of the era and integration in the content of paintings、attempts to introduce the Western concept of frontal composition, as well as updating the language of painting and artistic concepts. It is argued that the fundamental driving force and the main support for the development of Chinese painting in the context of globalization should be traditions integrated with new creative elements and techniques, thus it is possible to better promote Chinese culture and inherit the essence of traditional Chinese painting. (shrink)

Explores some steps toward non-assimilative encounters in the "global village.".

Résumé: Jusqu’à présent, le développement humain a eu pour corolaire la destruction des paysages culturels. Avec le développement de la civilisation industrielle, les gens ne profitent pas seulement du bonheur qu’elle leur apporte, mais sont également confrontés à divers problèmes liés aux paysages culturels. La philosophie de l’environnement est une philosophie moderne qui considère la relation entre l’homme et la nature comme une question fondamentale, et qui met l’accent sur la protection des paysages culturels. L’analyse de la philosophie environnementale (...) de la Chine ancienne montre que les anciens penseurs se souciaient de tout ce qui se trouve au ciel et sur la terre et qu’ils exploraient en profondeur des questions telles que le développement harmonieux entre l’homme et la nature, offrant ainsi une nouvelle approche de la protection des paysages culturels chinois. Prenant l’exemple de la philosophie environnementale taoïste, cet article propose une analyse préliminaire de la définition des paysages culturels, du développement de la philosophie environnementale et de la philosophie environnementale taoïste. Partant de là, il explore le rôle de la philosophie environnementale telle que “l’unité du ciel et de l’homme” dans la construction de la civilisation écologique, apportant ainsi de nouvelles idées pour la protection des paysages culturels. (shrink)

This article develops a new and expanded interpretation of the typology exclusivism, inclusivism, pluralism. The proposal refines the categories of what was originally a Christian typology in order to provide a truly cross-cultural and interreligious framework to better understand and compare the most common views of religious diversity found not only in Christianity, but also in Buddhism and other religions. Although building upon Schmidt-Leukel's logical reinterpretation of the typology, the article substantially modifies his framework and understands the typology, not as (...) a comprehensive classification of possible attitudes toward other religions, but rather as an open-ended framework to clarify the nature of the most common theologies of religions that exist in reality. The new interpretation provides a more precise definition of inclusivism that does not conflate inclusivism with the affirmation of a singular maximum, thus distinguishing between absolutistic and non-absolutistic forms of inclusivism. The new interpretation introduces an intermediate position between inclusivism and pluralism called pluralistic inclusivism. The article challenges David Ray Griffin's concept of generic pluralism and proposes a new understanding of pluralism indebted to Raimundo Panikkar. (shrink)

Can a phenomenology of culture be at the same time a philosophy of culture? In other words, can a descriptive exploration of acts and objects of culture serve at the same time as a critical reflection on those acts and objects? Or does cultural critique imply a separate and additional task, that of a normative examination of the explored cultural phenomena? What would be the founding values of such an examination? How would it be established? Furthermore, what (...) would be the importance of recognizing the distinct nature of this task compared to the exploratory-descriptive one? How would the two tasks relate to one another? Finally, is a full-fledged philosophy of culture, i.e. a critical exploration of cultural phenomena, needed? And if yes, why? These are the questions addressed by this paper. Answers are sought in a close examination of the work of Ernst Cassirer which involved both a phenomenology of cultural forms as well as an attempt at their normative-critical evaluation. And yet his work was criticized by many for its lack of an ethical dimension, a critique endorsed by another phenomenologist of culture, Alfred Schutz, whose work itself was accused for being non-critical. Beginning with a presentation of these two phenomenologies of culture this paper examines closely the charges directed against Cassirer's comprehensive philosophy of culture, namely, its idealism and its a-moralism. Through this examination the paper aims to shed light on a number of issues pertaining to the questions formulated above. (shrink)

This paper provides a reading of Nishitani’s philosophy of culture. It argues that the advent of nihilism is the logical conclusion of what will be called the “fracturing of culture” in which philosophy and religion lose their creative force to revitalize a cultural tradition as the sense of being-in-time that forms the historical life of a historical world. Section two sets out the paradoxical nature of Nishitani’s philosophy of culture as both a transcendental and existential (...) project. Section three draws attention to the fact that a concept of culture always belongs to a concrete culture as part of its own understanding of itself. Section four interprets the advent of nihilism in terms of a crisis of culture that ensues from the loss of the existential understanding of history that grounds a cultural world, that forms the standpoint of a historical event of worlding, the historical life that we are. Section five examines Nishitani’s project in terms of the reappropriation of a lost tradition through an existential receptive reinterpretation of Buddhism. Section six argues that for Nishitani the advent of nihilism comes about as a result of the negation of myth by science and thus the overcoming of nihilism comes about through the recollection of myth. Section seven determines the nature of myth for Nishitani through a comparison with Cassirer’s and Heidegger’s understanding of myth. Three elements of myth are focused on: 1) myth as an existential confrontation with being-in-the-world; 2) this existential being-in-the-world forms an existential being-in-time; and 3) myth is the position of the imagination, a thinking by means of form-images [keizō 形像] (Bild, image). Section seven considers the difference between Cassirer’s and Nishitani’s respective accounts of myth. Section nine examines the nature and function of philosophy, science, and religion in terms of their relation to myth and in terms of how they understand interdependent origination. Section, ten ends the paper by considering what is called the “fracturing” of culture and the advent of nihilism. (shrink)

Interpreters are divided on the question of whether the phrase ‘form of life’ is used univocally in Wittgenstein’s later writings. Some univocal interpreters suggest that, for Wittgenstein, ‘form of life’ captures a uniquely biological notion: the biologically human form of life. Others suggest that it captures a cultural notion: the notion of differently enculturated forms of human life. Non-univocal interpreters, in contrast, argue that Wittgenstein does not use ‘form of life’ univocally, but that he uses it sometimes to highlight (...) a cluster of biological notions and sometimes a cluster of cultural ones. The debate between univocal and non-univocal readers has generated a raft of intricate, illuminating literature on both sides. If it remains to an extent open, it is partly as a result of the fact that the textual evidence available on this matter, in Wittgenstein’s later published and unpublished writings, is so limited. In this paper, I argue that considering Wittgenstein’s earlier treatment of ‘form’ can help to shed light on his later treatment of ‘form of life’. More specifically I argue that revisiting the Tractatus ’ treatment of ‘form’ gives us – perhaps surprisingly – reasons to support a non-univocal later reading of ‘forms of life’. (shrink)

The object of the study is the university quarter as a socio-cultural phenomenon. The subject of the study is the forms of cultural interaction between the university quarter and the city. The use of comparative and typological methods made it possible to identify and describe four forms of university presence in the city space, grouped around two basic directions. The first direction assumes the priority of the university in relation to the city, which gives rise to such a (...) form of their interaction as a "university city". In this case, university activity, in fact, fulfills the role of the economic basis of urban life. The second direction, which is characterized by the leading role of the city, is represented by the student quarter, campus, university quarter. And in this case, we can talk about the "growing" of the university into the urban space, which has both its positive and negative sides. Special attention is paid to the university quarter, the need for which is associated with the expansion of the university's interaction with the urban community. Combining the project nature, openness, flexible targeting, it demonstrates greater potential compared to traditional options. In turn, the university quarter project can be represented by various complementary options. The analysis of the Samara experience of its design revealed two promising forms of its implementation: building a citywide university space and updating the historical past on the basis of available university resources. (shrink)

Much existing literature in anthropology suggests that teaching is rare in non-Western societies, and that cultural transmission is mostly vertical (parent-to-offspring). However, applications of evolutionary theory to humans predict both teaching and non-vertical transmission of culturally learned skills, behaviors, and knowledge should be common cross-culturally. Here, we review this body of theory to derive predictions about when teaching and non-vertical transmission should be adaptive, and thus more likely to be observed empirically. Using three interviews conducted with rural Fijian populations, we (...) find that parents are more likely to teach than are other kin types, high-skill and highly valued domains are more likely to be taught, and oblique transmission is associated with high-skill domains, which are learned later in life. Finally, we conclude that the apparent conflict between theory and empirical evidence is due to a mismatch of theoretical hypotheses and empirical claims across disciplines, and we reconcile theory with the existing literature in light of our results. (shrink)

This article develops a new and expanded interpretation of the typology exclusivism, inclusivism, pluralism. The proposal refines the categories of what was originally a Christian typology in order to provide a truly cross-cultural and interreligious framework to better understand and compare the most common views of religious diversity found not only in Christianity, but also in Buddhism and other religions. Although building upon Schmidt-Leukel's logical reinterpretation of the typology, the article substantially modifies his framework and understands the typology, not as (...) a comprehensive classification of possible attitudes toward other religions, but rather as an open-ended framework to clarify the nature of the most common theologies of religions that exist in reality. The new interpretation provides a more precise definition of inclusivism that does not conflate inclusivism with the affirmation of a singular maximum, thus distinguishing between absolutistic and non-absolutistic forms of inclusivism. The new interpretation introduces an intermediate position between inclusivism and pluralism called pluralistic inclusivism. The article challenges David Ray Griffin's concept of generic pluralism and proposes a new understanding of pluralism indebted to Raimundo Panikkar. (shrink)

Aristotle's observation that all human beings by nature desire to know aptly captures the spirit of "intellectualist" research in psychology and anthropology. Intellectualists in these fields agree that humans' have fundamental explanatory interests (which reflect their rationality) and that the idioms in which their explanations are couched can differ considerably across places and times (both historical and developmental). Intellectualists in developmental psychology (e.g., Gopnik and Meltzoff, 1997) maintain that young children's conceptual structures, like those of scientists, are theories and (...) that their conceptual development--like the development of science--is a process of theory formation and change. They speculate that our explanatory preoccupations result, at least in part, from a natural drive to develop theories. Intellectualists in the anthropology of religion (e.g., Horton, 1970 and 1993) hold that, although it may do many other things as well, religion is primarily concerned with providing explanatory theories. They maintain that religion and science have the same explanatory goals; only the idioms of their explanations differ. The connections between the concern for explanation, the pursuit of science, the persistence of religion, and the cognitive processes underlying each clearly merit further examination. By considering both their cultural manifestations and their cognitive foundations, I hope to clarify not only how science and religion are related but some of the ways their explanatory projects differ. I shall argue that, despite their centuries' old antagonisms, no development in science will ever seriously threaten the persistence of religion or the forms of explanation religion employs or the emergence of new religions. (I strongly suspect that science will never seriously threaten the persistence of particular religions either, but I only aim to defend the weaker, collective claim here.) In this paper's fourth section I shall show that religion and its characteristic forms of explanation 1 are a natural outgrowth of the character and content of human association and cognition.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Videogames and Interactive FictionGrant TavinorIIn the third-person crime simulator Grand Theft Auto 3, the fictional performing of all sorts of criminal nuisance is a possibility. (Squeamish readers, or those that are adamant videogames are playing a decisive role in the moral degeneration of modern society might want to turn away now!) Here is one possibility for players of the game: while driving around in the rundown red-light district of (...) Portland Island, try stopping beside one of the women dressed in leather dresses and knee-high stockings who say things like "Have you ever been down south?" The fictional woman will bend down to the car window and eventually hop in. Now drive to a secluded area, stop the car, and wait. What happens? The car begins to rock up and down, slowly at first, and then more quickly, squeaking all the while. As it does, your health meter increases and the cash meter decreases. Eventually, after the car has stopped rocking, the prostitute exits and walks away. This is all obviously of questionable taste. But the really horrible part is that it is possible to mug the prostitute and take back your money!Though I am reluctant to tell you this, the first time I discovered the trick, I felt a sort of sadistic joy at my reprehensible behavior. Friends in the room at the time thought the whole incident hilarious; except for one who thought it extremely revolting. Perhaps now though, I feel guilty for what I did to the prostitute. (Hence my reluctance to let you know of my sinister fictional activities!) Of course, this episode raises a host of ethical questions; I will not attempt to answer them here. What I am interested in is the possibility of fictional interaction itself. The important point is that this fictive episode seems to show that it is possible in the case of videogames to feel guilty or ashamed for what one [End Page 24] does in a fictional world. But how is this possible? What does interacting with a videogame amount to that it allows for this intimate (and dubious) emotional connection?There is a wide and impressive literature in the analytic philosophy of the arts concerning the nature of fiction and the practice that surrounds it; this literature gives us an ideal theoretical basis from which to explore the topic of videogames. But also, videogames will allow us to return our attention to the theory, perhaps perceiving areas in which it can be improved, so as to become more generally applicable. I begin this paper by setting out some initial descriptive examples of the ways in which videogames are interactive fictions. After discussing an ambiguity in the notion of what it is to interact with a fiction, I deal with two prominent aspects of that interaction; that focused on fictive props, and the apparent interaction players have with fictional worlds. Next, I argue that the interactive nature of videogames alters the character of our interest in them. Rather than a focus on interpretive and sympathetic engagement with narratives, videogames involve their appreciators in an active engagement with the problem spaces or kinetic narratives of gameplay. Finally, I argue that because action and emotion are close cognitive bedfellows, and because emotion plays an important role in the psychology of fictive practice, that the emotions experienced by videogame players will be distinctive to that fictive form.IIVideogames provide their players with a variety of opportunities for interactive engagement. The last ten years have seen significant development in the extent of the fictive interactivity of videogames, especially with the advent of the "next generation" consoles such as Playstation 2 and X-Box, and the burgeoning genre of PC gaming. With the intention of providing some descriptive substance for the following theoretical discussions, in this section I present some examples of the ways in which modern videogames are interactive fictions, and how they differ to more traditional fictive forms in this respect.Many videogames involve exploring an environment. In Grand Theft Auto 3, the player, in the guise of a criminal protagonist, is able to explore the streets of Liberty City. Completing the objectives of the... (shrink)

In a wide range of contemporary debates on Japanese cultures of technological practice, brief reference is often made to distinct Shinto legacies, as forming an animist substratum of indigenous spiritual beliefs and cosmological imaginations. Japan has been described as a land of Shinto-infused ‘techno-animism’: exhibiting a ‘polymorphous perversity’ that resolutely ignores boundaries between human, animal, spiritual and mechanical beings. In this article, we deploy instances of Japanese techno-animism as sites of theoretical experimentation on what Bruno Latour calls a symmetrical anthropology (...) of nature-cultures. In staging a dialogue between actor-network theory and Japanese techno-animism, we show how Shinto cosmograms provide an enlivening and alternative diffraction device on several of the ontological motifs manifested in Latour’s work. In particular, by mobilizing the territory of a ‘new’ animism debate in anthropology – manifested in the work of Philippe Descola and Eduardo Viveiros de Castro – we attempt to infuse Latourian ‘multinaturalism’ with new, other-than-western analytical energy. Extending actor-network theory, we argue, Shinto cosmograms offer an interesting vantage point for interpreting the immanent, affective, enchanting and enabling powers of non-humans in contributing to collective life. By thus broadening the ‘cosmopolitical’ imagination beyond Latour’s own European-Catholic frame of reference, Shinto techno-animism offers up a wider reflection on contemporary entanglements of science, politics, ecology and cosmos. This reflection, we conclude, opens up a new intellectual territory, allowing us to trace techno-animist streams of thinking both ‘East’ and ‘West’, beyond the confines of the scientific naturalism indigenous to European thinking. (shrink)

Purpose. The aim of the article is to clarify the content of the concept of culture as an explication of vitality within the philosophy of life and its further modifications in current problems of contemporary. The analysis performed standing from the point, that contrasting of nature and culture is irrelevant, since culture does not contradict natural determinants and patterns, but rather qualitatively alters them. So, are justified the idea of culture as a phenomenon that exist (...) accordingly and in proportion to nature, need to form its potential and content and not contradict the axioms and values of life. Theoretical basis. In the theoretical field of philosophy of life, the local development of the problem of culture as an explication of vitality produces grounds for analytical and prognostic activity concerning meaningful transformations in a separate historical and social horizon. The fundamental categories of culture: spirit, value, symbol, freedom, justice and harmony receive the requested content and meaning. The idea of the constancy and super-naturality of cultural universals is illusory and dangerous. The consequences of such a "non-cosmological" justification of freedom and will, and the assertion of values, that contradict the logic of life, are the global environmental, economic and social crisis of our time. Originality. The originality of the authors’ thought lies in the interpretation of the essence of culture as an explication of vitality, as a logical and natural extension of life. In this formulation of the problem of culture, the possibility of reconciling the natural, social and value determinants of human life is formed. Theorists of the philosophy of life substantiated the primacy and supremacy of the values of life over the values and meanings of culture. The position of authors position consists in the need to understand culture as an environmentally appropriate and dimensional phenomenon, the content and strategies of which are determined by a single ontology. Conclusions. The analysis let authors understand the voluntarily chaotic element of life. Culture in its philosophical analysis took on a clearer anthropomorphic dimension: the immanent logic of being in substantiating the essence and purpose of man and the value of his being localized the universe of transcendence in the concept of "living world", "inhabited space", "human, too human". Accordingly, the range of cultural evaluations has been polarized: from the approving statement of its vital essence, to the disparaging calls for its reform. The chaotic state of voluntarily acts is transformed into cultural codes and stereotypes by rationalization. The modern global nature of crisis phenomena, both in the worldview, in the social, and in the ecological dimension, requires reformatting the understanding of culture as a continuation of nature, and not its antipode. (shrink)

Comparative political theory is at best an embryonic and marginalized endeavor. As practiced in most Western universities, the study of political theory generally involves a rehearsal of the canon of Western political thought from Plato to Marx. Only rarely are practitioners of political thought willing (and professionally encouraged) to transgress the canon and thereby the cultural boundaries of North America and Europe in the direction of genuine comparative investigation. Border Crossings presents an effort to remedy this situation, fully launching a (...) new era in political theory. Thirteen scholars from around the world examine the various political traditions of West, South, and East Asia and engage in a reflective cross-cultural discussion that belies the assumptions of an Asian "essence" and of an unbridgeable gulf between West and non-West. The denial of essential differences does not, however, amount to an endorsement of essential sameness. As viewed and as practiced by contributors to this ground-breaking volume, comparative political theorizing must steer a course between uniformity and radical separation--this is the path of "border crossings.". (shrink)

ABSTRACT The article critically discusses Rahel Jaeggi’s recent philosophical contribution to a critical theory of capitalism. The first part reconstructs Jaeggi’s account of Lebensform, life-form, that builds up the main ontological framework for addressing and problematizing capitalism intended not as an economic system but as a social whole. The second part focuses on the three different theoretical strategies that Jaeggi puts forward to detect and deal with capitalism’s immanent flaws. The third and last part problematizes the metaphysical assumptions and implications (...) of Jaeggi’s understanding of life-form and outlines a more dialectical, or “transactional” notion of form of life, which is inspired by Dewey’s non-reductionist naturalist method of inquiry. The overall aim is to strengthen the philosophical critique of the capitalist form of life. (shrink)

The papers collected in this volume exemplify some of the trends in current approaches to logic, language and computation. Written by authors with varied academic backgrounds, the contributions are intended for an interdisciplinary audience. The first part of this volume addresses issues relevant for multi-agent systems: reasoning with incomplete information, reasoning about knowledge and beliefs, and reasoning about games. Proofs as formal objects form the subject of Part II. Topics covered include: contributions on logical frameworks, linear logic, and different approaches (...) to formalized reasoning. Part III focuses on representations and formal methods in linguistic theory, addressing the areas of comparative and temporal expressions, modal subordination, and compositionality. (shrink)

One of the areas of study of tafsīr is the stories in the Qur’ān. In the stories of the Qur’ān, generally creation, man, the nature of man and different societies that lived in history are mentioned. Although the main theme in the stories is belief and disbelief, social structures and cultural features are explicitly and indirectly mentioned as well. But the mufassirs approached the stories mainly from the point of view of belief and disbelief. They did not declare an (...) opinion on cultural studies. Positive science applies the culture, science and technology that humanity has, only to the will and labour of man. However, when we look at the sacred texts, humanity has not only realized its development in the field of culture, science and technology, but also evolved by the presence of divine grace as well as the mind. In this evolution, the prophets were given a special task. This study covers the prophets and some inventions and professions attributed to them. The examination of the influence of divine grace and the Prophet’s fatānah (outstanding reasoning power) in the development of culture, science and technology is among the importance of the study. Because when scientific determinations are examined, it is seen that the first cultural events and civil developments occurred in the geography of the Prophets. Again, it can be seen that the explanation of culture and cultural developments with a positivist perspective and an empirical paradigm has some shortcomings. For this reason, the article aims to explain how cultural developments are formed based on sacred information data. In the study, the qualitative method was selected and the document examination technique was applied. Along with cultural activities, the prophets and their works were discussed; classical and modern tafsīr sources, as well as historical books, akhīlik (a guild system) works and futuwwatnāmas (rules and regulations of the guild) were addressed. Man was created by Almighty Allah with different and superior equipment than other beings. He has been taught all names. Names mean having the ability to recognize-classify-name the creature, to reason, to transform the nature and to transfer the culture. The meaning of the verse “he taught him all the names” is to teach the Prophet Adam the knowledge of things and the general knowledge of civilized life. The general knowledge was developed by people and various and different objects were produced; science and technique were constantly developed. Especially the prophets made a great contribution to these scientific and technological developments. Thus, the prophets guided people in the spiritual sphere such as faith, worship and morality, as well as in the scientific and material sphere. Throughout the history, the prophets have shed light on scientific developments directly or indirectly, showing the limits of the level of science that humanity can reach through their miracles. According to Islāmic Sciences, the process of domesticating seeds and taming animals began during the reign of the Prophet Adam. He produced dresses for himself and his wife. As a prophet, a religion and belief system was formed during his time. Along with Prophet Idrīs, more beautiful dresses began to be knitted and sewn, writing with pencil. In the era of Prophet Noah, besides agriculture, art was also developed; sculptures and ships were made. During Prophet Hoad period, there was progress in agriculture as well as urbanization activities, and villages and towns began to form. During the reign of Ṣāleḥ, cities were founded in a serious sense. For this reason, in Prophet Ṣāleḥ’s stories, emphasis is placed on the words dār and diyār, which means house or houses, and in particular the word medīna (city) is used. The inscription, which began to be mentioned with Prophet Idris in Islāmic Sciences, also began to be used in the Qur’ān along with Prophet Abraham/Ibrāhīm, and during the reign of Prophet Moses/Mūsā, it was referred to as the book. During the reign of Prophet Joseph, money was invented and the clock and calendar were used. Again, Islāmic sources also contain the information that Prophet Joseph/Yūsuf invented paper for the first time. During the period of Prophet Shu‘ayb, the knowledge of account, measurement and weighing were developed, and they began to be used extensively in trade. During the reign of Prophet David/Dāwūd, iron was very widely used, and Prophet David, made household items out of iron, as well as war tools and equipment. Prophet Solomon/Sulaymān, on the other hand, expanded the processing of iron further, making it widely in all areas of life. During the reign of Prophet Jesus/ʿĪsā and Luqmān, medicine also made progress; Prophet Jesus developed and treated methods of treatment for crippled patients. Along with Islām, this information has been included and developed in the most detailed way in the Qur’ān, the personality of Prophet Muhammad (PBUH) and the Hadīth. (shrink)

This paper is dedicated to the analysis of the maximin principle, which is one of the key theoretical concepts of John Rawls’s theory of justice, and the problem that this principle creates for any attempt to provide a naturalistic interpretation of Rawls’s concept of fairness . Analysis shows that maximin principle is, in fact, incompatible with the Bayesian decision theory. This paper is intended to show that recent breakthroughs in evolutionary game theory could help to reconcile the maximin principle with (...) a certain naturally emerging and evolutionary stable pattern of human social behaviour.Keywords: Maximin principle, Nash bargaining game, Evolutionary Game Theory, Evolutionary Stable Strategy, learning rules. (shrink)

Current conceptions of meaning and culture tend toward extreme forms of disembodied abstraction, indicating an alienation from the original, earthy meaning of the word culture. I turn to the earlier meanings of the word and why the “cultic,” the living impulse to meaning, was and remains essential to a conception of culture as semeiosis or sign-action. Culture and biology are often treated by social scientists as though they were oil and water, not to be mixed. (...) I am fully aware of the assumed nature-culture dichotomy, but I reject it, not because I am a sociobiologist, quite the contrary, but rather because I am a semiotician, and my studies of signs have led me toward a critical reconstruction of the concepts of nature and culture. In my perspective, culture is a living, social metaboly of signs, not limited to a convention but in transaction with the inmost recesses of the person, and with the qualitative, physical, and significant environment. The question is not whether culture is a “system” or not, but whether we shall continue to conceive of culture as an inert, mechanical system or code, incapable of self-critical cultivation, or as a “living system”--a way of living--fully open to contingency, spontaneity, purposive growth and decay. Putting the “cult” back into culture requires a reconception of the relations between human biology and meaning, and between non-discursive, non-rational reason and modern rationality. Such a reconception involves considering how the technics of the biosocial human body itself form the primary source of culture. (shrink)