This chapter contains sections titled: Notes.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' ObjectsGraham ParkesSpirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' Objects. Edited by Stephen Little. Chicago: The Art Institute of Chicago in association with University of California Press, 1999. Pp. 112.Let me introduce Spirit Stones of China: The Ian and Susan Wilson Collection (...) of Chinese Stones, Paintings, and Related Scholars' Objects (edited by Stephen Little) with this quotation:The purest essence of the energy of the heaven-earth world coalesces into rock. It emerges, bearing the soil. Its formations are wonderful and fantastic. Some with cavernous cliffs, revealing their interior; some with peaks and summits in sharp-edged layers.... Within the size of a fist can be assembled the beauty of a thousand cliffs. Rocks large enough to be set up in great courtyards, small enough to be set upon a stand. Like gazing upon the peaks of Song Shan, or facing the entire range of the Meng mountains; sitting quietly, your imagination purified.... The Sage [Confucius] once said, "the humane man loves mountains," and the love of stones has the same meaning. Thus, longevity through quietude is achieved through this love.This passage articulates the very different understanding of stone—as "essential energy" rather than mere matter—that underlies the traditional Chinese passion for rock collecting and appreciating, for which even the terms "petromania" and "litholatry" seem too weak. It comes from the preface to the earliest surviving Chinese manual on the topic, Du Wan's Stone Compendium of Cloudy Forest, compiled in the early twelfth century, and is quoted by Stephen Little in his erudite and informative introduction to this magnificent catalog for a unique collection of "spirit" or "strange stones" (guai shi) and other scholars' articles. This essay nicely complements and amplifies ideas set forth some fifteen years ago by John Hay, in his now classic introduction to the catalog Kernels of Energy, Bones of Earth: The Rock in Chinese Art (New York: China House Gallery, China Institute in America, 1985).Most cultures appear to begin with a natural reverence for stone in its natural state—one thinks of the Druids, the Indian tradition, the Polynesians, Native Americans, and Australian aboriginal culture—and many seem to retain that reverence as they develop. Indeed, when seen in a global perspective, the general lack of interest in (or respect for) rock in its unhewn state that characterizes the European and Anglo-American traditions seems idiosyncratic. But Chinese culture definitely has the longest and most enthusiastic tradition of collecting stones and arranging rocks in gardens: "strange stones" figure among articles of tribute offered to the mythical emperor Yu (mid-second millennium B.C.E.), and the emperor Wu Di (second century B.C.E.) is recorded as having had rocks arranged in the gardens of his palace. [End Page 306]Stephen Little's essay gives an eloquent account of the development of the practice of stone collecting in China, delineating its relationships with poetry and painting and other arts and practices, and containing numerous translations of passages from primary sources otherwise inaccessible to the non-reader of Chinese. Most of the rocks in the catalog are of the well-known Lingbi (sonorous) and Ying types, but other kinds are represented, too. The editor also supplies a context for appreciating the paintings, scrolls, and other articles from scholars' desks that are in the catalog: brush rests, inkstones, brush holders, and so forth. The sixty-six items from the collection are represented in excellent black-and-white photographs.The book is beautifully designed and produced—and is indeed a work of art in itself with its handsome, dark blue Chinese-style case. All in all, this a stylish and informative contribution to the growing literature on a philosophically fascinating topic. [End Page 307]Graham Parkes University of Hawai'iCopyright © 2001 University of Hawai'i Press... (shrink)

Inscriptions of Assyrian kings disclose that these rulers maintained and improved the land near the palace. This paper brings together the pictorial versions of what may be described as the “Assyrian royal landscape,” that is, outdoor scenery designed for royal purposes and represented on the stone panels that lined the walls of the palaces at Nimrud, Nineveh, and Dur-Sharrukin. The royal landscapes differ from reign to reign, since they each reflect some aspect of the particular king’s rule. The description (...) and discussion of the individual scenes also take into account the rationale behind their creation. Textual and archaeological data are supportive additions, and the previous studies of other scholars are also considered. The discussion of scenes carved on the stone panels follows in chronological sequence the reigns of four Assyrian kings: Ashurnasirpal II, Sargon II, Sennacherib, and Ashurbanipal. The chronological presentation demonstrates that royal landscape imagery in the sculptural arts progressed as a method of documentation by the Assyrian kings. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. (...) The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, (...) thorough, and beautifully illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, (...) thorough, and beautifully illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

Chinese culture is distinguished among the world’s other great traditions by the depth and intensity of its love for rock and stone. This enduring passion manifests itself both in the art of garden making, where rocks form the frame and the central focus of the classical Chinese garden, and also on a smaller scale, in the practice of collecting stones to be displayed on trays or on scholars’ desks indoors. This essay sketches a brief history of lithophilia in (...) China, then adduces the most important philosophical presuppositions for it, and concludes by suggesting some implications for our experience of, and interactions with, the realm of stone and rock. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Just Capitalism: A Christian Ethic of Economic Globalization by Brent WatersNicholas Aaron FriesnerJust Capitalism: A Christian Ethic of Economic Globalization Brent Waters LOUISVILLE: WESTMINSTER JOHN KNOX PRESS, 2016. 260 pp. $40.00In Just Capitalism, Brent Waters offers a wide-ranging defense of economic globalization, the market state, and the pursuit of affluence, which together provide a means to spread human flourishing around the globe. For Waters, the free-flowing economic exchange (...) enabled by globalization does not inherently conflict with Christian tradition, and it can be harnessed in a responsible manner to share and communicate the goods of creation. He argues that breaking down global barriers to market participation expresses a preferential option for the poor and provides a means for achieving the work of the Spirit by spreading the materials goods that lift people out of poverty and alleviate suffering. The book's primary contribution is its broad explanation of recent work on the economics of globalization and Waters's ability to put this literature into a theological conversation. The argument is particularly timely for Christian ethicists who are concerned with developing the tools to respond to expanding movements toward isolationism and economic protectionism in the United States and Europe.Part 1 of Just Capitalism claims that moral theology has not properly interrogated the common view that affluence fundamentally conflicts with the Christian tradition. By contextualizing both the biblical sources and the traditional theological voices that support this view, Waters shows that these sources assumed an economic model in which resources are scarce and wealth is built by exploiting the poor. Instead, Waters argues that our present economic system is based on increasing productivity, and therefore wealth is not necessarily exploitative. In fact, he claims that the pursuit of affluence can be beneficial for helping to lift people out of poverty. Rather than retreating from engagement with wealth and the market, Christians should recognize that free exchange is a necessary, though not sufficient, condition for human flourishing (15). [End Page 213]In part 2, Waters develops a notion of koinonia, whereby human flourishing depends on communicating the goods of creation in the associations of civil society. Responding to worries about the homogenizing forces of market economies that make individuals into producers and consumers, Waters offers the church as a communicative association that stands in tension with capitalist markets by cultivating reciprocity instead of consumption, breaking down barriers in a gathering community, and being nonterritorial in its scope (150–51). Because communicative associations like the church are essential to the vitality of civil society, the challenge is to "embrace the dynamism of global markets in order to promote more widespread prosperity," while establishing the requisite political stability that allows these associations to exist (159).Nevertheless, Waters does not spend much time elaborating on specific moments when the church should come into conflict with capitalism—he notes that his reservations only give him "two-and-a-half-cheers" for globalization, rather than three (14–15). In his desire to show compatibility with globalization, he neglects to give a sense of when communicative associations could justifiably remove themselves from the system of exchange. This relates to Waters's final chapter on capitalist responses to environmental devastation, which relies on his earlier development of a stewardship model, one that seems to reduce creation to its instrumental value for human "delight" (89–90, 92, 111, 115). Waters admits that the pursuit of affluence requires short-term environmental damage, especially in developing countries; nevertheless, he thinks that affluent societies will better preserve the environment (through "national parks and wildlife preserves") (217), and some environmental exploitation is needed to form these affluent societies. This will probably be insufficient for environmental ethicists who resist the notion that creation's purpose is to be ordered to promote human flourishing (204). He is clear, however, that "Eden is a garden, and not a wilderness" (203).Nicholas Aaron FriesnerBrown UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Murder in the Garden? The Envy of the Gods in Genesis 2 and 3 Paul DuffJoseph Hallman George Washington University University of St. Thomas According to Walter Brueggemann, "No text in Genesis (or likely in the entire Bible) has been more used, interpreted and misunderstood" than the story of Adam and Eve in the garden. "This applies to careless, popular theology as well as to the doctrine (...) of the church"(41). Augustine attempted to explain the first few chapters of Genesis on no fewer than five different occasions throughout his career. Based on his reading ofPaul, Augustine and Western Christianity after him believed that the entire human race inherited the disobedience ofAdam and Eve. The story in Genesis 2-3 represents the beginning ofthe J narrative, the so-called Yahwist account of the creation which originated in the early years ofthe Israelite monarchy.8 Commentators have long acknowledged a variety ofelements in the Yahwist creation account which complicate its interpretation and defy any satisfactory explanation. Among the more puzzling elements in the story are, first, the implication in Gen. 3:22 of a plurality of divine beings, a fact which seems to contradict the rest ofthe narrative and which also flies in the face of Israelite monotheism. Second, according to Gen. 2:17, God threatens Adam with the punishment of 8 The Yahwist document, originally independent, was later combined with three other strands of ancient material to form the Pentateuch. For a recent study ofthe "Documentary Hypothesis," see Richard Friedman. 1 84Paul DuffandJoseph Hallman immediate death for transgressing the deity's prohibition (cf. 3:3, 3:4). God does not carry out the threatened punishment, however, nor does the text offer the reader an explanation for the deity's commutation ofthe sentence (Westermann 224-5). Third, the origin and nature ofthe serpent in the story is unclear. Where did he come from? The identification ofthis figure with Satan in the later tradition has no support in the text (Westermann 237-9). Finally, the prohibition not to eat ofthe single tree in the garden appears to be arbitrary. Hence the crime of Adam and Eve is obviously contrived. Despite the fact that the original sentence of death for their disobedience was not carried out, the curses invoked on Adam and Eve seem hardly warranted by the offense. Consequently, some sections ofthe text depict the deity as a petty tyrant, certainly a very different picture than that given by other scriptures ofthe Jewish and Christian traditions. We believe these difficulties can be overcome by approaching Genesis 2-3 from a Girardian perspective.9 We propose that this story has evolved10 in order to hide its original meaning. As a result—following Girard's understanding of the function and evolution of mythology—we will endeavor to "deconstruct" Genesis 2-3 in order to trace the evolution ofthis myth from its origin in a primal crime. This will enable us to explain the inconsistencies in the text as it stands and to appreciate the final revisions made by the biblical author(s). We will begin with a brief discussion of Girard's understanding ofmyth. Then we will turn to the problems ofthe Genesis text. Girard on myth According to Girard, myth is, quite simply, a narrative about a primal murder, rewritten from the vantage point ofthe killers (1977a, 64-7, 91-5; 1986, 24-44). As such, mythology covers up the role of the victimage mechanism as the basis ofculture. Myths which disguise or cover up such a crime can take many forms. For instance, the foundational murder of an 9 In his recent book on Paul, Robert Hamerton-Kelly presents a Girardian interpretation of this passage which is completely different from ours (92-7). Since Hamerton-Kelly appears to read the myth at face value without a sense of development, he, like most interpreters, ends with somewhat tortuous conclusions. 10It is virtually certain that the account found in Gen. 2 and 3 did not come into being as a free composition of the Yahwist. But, as Claus Westermann has pointed out in his history ofthe exegesis ofthis passage (186-91), despite the fact that most see it as a product of a long... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and (...) the "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)

An account of the transition from the Edenic to the state of nature discourse in the late sixteenth and early seventeenth centuries has yet to be written. The contention of this paper is that Hobbes's work is a useful place to begin an investigation of this process of change. Though not the initiator of this transformation, Hobbes must take much of the credit for the eventual eclipse of one discourse by the other. An exposition of the Edenic discourse, kept alive (...) in the theological tracts of English divines, sets the proper context for an appreciation of Hobbes's state-of-nature scheme. As is made evident in a number of his Latin publications, Hobbes came to realize that the viability of his own narrative of political creation required the subversion of traditional glosses on Genesis. By attending to two particular features of the Edenic discourse that Hobbes sought to negate -- the language Adam spoke and the knowledge he possessed and transmitted to his posterity -- important connections are made with Hobbes's general theory of signs and his absolutist theory of sovereignty. (shrink)

Ex interiore ipso exeas. Preface. This book reconstructs the history of a still open dialectics between several ethoi, that is, shared codes of unwritten rules, moral traditions, or self-aware attempts at reforming such codes, and ethical theories discussing the nature and justification of such codes and doctrines. Its main claim is that this history neither amounts to a triumphal march of reason dispelling the mist of myth and bigotry nor to some other one-way process heading to some pre-established goal, but (...) instead to a chain of controversies where the partners’ will to win unintentionally yields a wealth of insights on human existence that has still something to teach us. -/- 1. The Hellenic moral tradition. -/- Two different traditions of morality in vi-v century Greece are described. The birth of philosophical questioning of traditional morality and temporal and spatial variation of custom is described within the context of the v century crisis, the demise of traditional aristocratic and tyrannical rule and the birth of democracy. Two conflicting answers to the challenge are reconstructed, namely conventionalist or immoralist theories formulated by the Sophists and the eudemonist and intellectualist Socratic theory. -/- 2. Plato and the Good. -/- Plato’s own reformulation of Socrates rejoinder to the Sophists is reconstructed. His psychological views, his classification of the four cardinal virtues and his political theory are described as parts of a unitary system, culminating in an extremely realist moral ontology identifying the idea of the good with the essence of the (moral and extra-moral) world itself. -/- 3. Aristotle and practical philosophy. -/- Aristotle’s invention of practical philosophy as a field separated from first philosophy is shown to be an implication of his break with Plato moral ultra-realism. Aristotle’s agenda in his moral works is arguably dependent on a polemical intention, namely dismantling Socratic intellectualism. The semi-inductive or virtuously circular method of practical philosophy is illustrated, starting with the received opinions of the better and wiser individuals and trying dialectically to sift what is left of mistake and inconsistency in such opinions, finally trying to correct mistakes and make the overall practical science more consistent. The relationship of individual ethics, or ‘monastics’, with the art and the science of the pater families, or ‘economics’, and the science of the ruler and citizen, or politics, is illustrated. The nature of virtues, or better, excellences of character, is discussed, highlighting the basic role of hexes, or ‘dispositions’. Prudence, or better, practical wisdom, is the focus of the chapter. Its relationship with boùleusis or deliberation is discussed, and its autonomous status vis-à-vis theoretical knowledge is stressed. -/- 4. Cynics and Stoics: ethics as therapy. -/- The chapter provides an overview of Hellenistic ethics, which almost amounts to Hellenistic schools of philosophy, in so far as ‘philosophy’ became in these centuries primarily the name for a way of life. The typical character of the Cynical movement is highlighted, that of a school of life, not a school aimed at providing any kind of intellectual training was to be provided. The various phases of Stoicism are described, and the shifting place that was given to ethics in the Stoic system of idea, culminating in the paradoxical view of ethics, its impossibility in principle notwithstanding, as the only truly significant and necessary part of philosophy. The peculiar character of the Epicurean school is described, a combination of the science of well-being aiming, more than pleasure understood as in the popular view, the reduction of useless suffering, of unnecessary needs, and at a balanced selection of pleasures of the best and most durable kind. -/- 5. Roman and Imperial Moralists. -/- The chapter is dedicated to the reconstruction of a particular kind of literature, whose specific features have long been under-stressed, namely the Roman and Imperial moral literature. Cicero is treated at some length, showing how his own synthesis of various Hellenistic trends is as a truly philosophical enterprise, deserving serious consideration after one or two centuries when he was confined to the role of literate. Epictetus is given pride of place, stressing the novelty of his approach to ethics as cognitive therapy, in this case just following an already existing new wave of interest after nineteenth-century oblivion justified by alleged lack of authentic ‘philosophical’ character. -/- 6. The Hebrew moral tradition. -/- A reconstruction of basic ideas from a few books of the Hebrew Bible is provided, starting with the Prophetic tradition and the focus on God’s mercy as the source of motivation and standard for human behaviour. Then a comparative analysis is undertaken of a parallel tradition, namely the three codifications of the Torah (Law or, better, Instruction), highlighting how a core of moral ideas may be recognized as a basis and preamble of codification of civil law, cultural practice, and regulation of ritual purity. The importance of Levitic is stressed as the turning point when the stress on mercy, typical of the Prophetic tradition, starts being combined with legal tradition yielding the change in the sensibility of the Second Temple time. -/- 7. Second Temple Judaism. -/- This chapter describes the Long March leading from the post-exile Zadokite restoration to the first-century aevi vulgaris. The first topic reconstructed is the Zadokite theology of the double retribution. The second is the alternative Enochic tradition consistently rejecting the central role of the Temple, the Priesthood and worship as atonement for sins and offering as an alternative God’s unlimited mercy and preaching mercy, not sacrifice as the way of behaving requested by God. Wisdom literature, the third subject discusses, is a kind of third way, on the one hand increasingly critical towards the double retribution and ruling theology’s optimism facing the world as it is and on the other mocking at the Enochic current as a band of dreamers and visionaries. The third way consists in disenchantment facing the word as it is combined with a refusal of vain and childish hope of prizes for the righteous, suggesting instead the leading idea of right deeds for righteousness’s sake. Rabbi Hillel, Rabbi Yeshua and Philo of Alexandria are described as the three leading figures at the culminating point of such process of emergence of a new sensibility, gradually including mercy as an essential part of justice and establishing the starting point of both the Rabbinic and the Christian tradition. This starting point consists precisely in the precept of one’s neighbour’s love or of the golden rule, whose meaning is, arguably, more consistent than a long-lasting Christian tradition deriving from John and Augustine made us believe. And Christian morality, vis-à-vis allegedly legalist ‘Ancient Testament’ teachings, is less of a novelty than most early Christian writers announced. -/- 8. Talmudic moral doctrines and proto-Christian paraenesis. -/- The first three sections examine the moral doctrines of so-called 'ethical Treaties' from the Talmud, a group of treaties, among which the best known is Pirke Avot, that were left out of the six "orders" of the canon as they did not fit in any of the six groups of issues ritual or legal on which the division was based. According to Maimonides, their peculiar theme is provided by the Deot, 'opinions', i.e., mental dispositions, that is, the translation of the Greek term hexes and Arab akhlak (in turn providing in this language the name for ethics as such). The three topics I reconstruct are: i) the notion of Torah: The Torah is understood as the world order itself, or as the ‘Wisdom’ that existed even before creation and was "the tool by which the world was built"; however, the Torah is an earthly and human entity, as it was "received" by humans, and from that very moment belongs to them; ii) the relationship between love of God and love of neighbour; the treaties require us to study and practice the Torah ‘for its own sake’, that is, require us to act out of love, not out of fear or hope of reward; iii) the idea of sanctification of daily life: having disappeared with the destruction of the Temple the possibility of any conflict between liturgical service and everyday life, the latter is assumed to be in itself divine service: to give food to the poor has the same value as sacrifices in the Temple, and as an implication, the insistence become recurrent on the goodness of created things in themselves along with a polemic against ascetic currents. The conclusions drawn are: i) the moral teachings of the Talmud and those of Yeshua are, rather than similar, virtually identical; one may safely say that the precept of love and the golden rule are central ones for all Talmudic rabbis, that mercy plays an indispensable role alongside with justice, and the latter is not a different thing from one’s neighbour’s love; ii) a peculiarity of Talmud rabbis facing Yeshua is the idea of study as worship, and knowledge as a source of justice; but this is an idea of Judaism after the Temple's destruction that cannot be attributed to the Pharisees of Yeshua’s time; iii) the relation of study and practice in the Talmud parallels that between faith and deeds in Paul's epistles, that is, respectively faith or learning are a necessary and sufficient condition to be recognized as righteous, but deeds are the inevitable effect of either faith or learning. The last two sections examine first the various Christian currents and then Gnostic para-Christian or non-Christian currents as well as Manicheism. The sayings ascribed to Yeshua are examined first, yielding the conclusion that a close equivalent may be found for every saying in Talmudic literature and yet the whole is ascribed to one rabbi, with rather consistent stress on God’s mercy and unconditional forgiving as the mark of true imitation of God. Thus, Yeshua’s teaching is pure, purest Judaism. The last section describes briefly the galaxy of Gnostic currents and Manicheism, trying to sketch the profile of moral teachings resulting from an encounter of Asian spiritual traditions, Hellenistic lore and sparks of teachings from apocalyptic Jewish currents. -/- 9. Christianity as “philosophy”. -/- The chapter reconstructs the stormy story of several encounters between Christian currents and Hellenistic philosophical schools. The first one was with late Cynicism. Recent, rather controversial, literature discovered the jargon and several rhetorical topics from the Stoic and Cynical popular philosophy in a few books from the New Testament itself. This, far from proving that Rabbi Yeshua himself had been influenced by cynical preachers, is a proof of the necessity to translate the original Christian message in a Greek lexicon deeply impregnated with cynic terminology. The second was with Platonism, yielding the mild and temperate moral teaching of Clemens of Alexandria, teaching the sanctity of nature and the human body, the joy of moderate fruition of ‘natural’ kinds of pleasures, and the beauty of the marital life – in short, the opposite of the standard picture of Medieval Christianity. Ambrose of Milan brings about a different kind of synthesis, namely with Middle Platonism, where Stoic themes prevail. The most shocking case is Augustine, where early Manichean education is overcome in a former phase by a synthesis of Plotinian Neo-Platonism and Christian preaching, yielding a sustained polemic with the Manicheans and rather optimistic views on life and Creation, the body and sexuality, and Hebrew-Judaic tradition not far from Clemens of Alexandria. In a later phase, occasioned by controversy on the opposite front, with such Christian currents as the Pelagians and Donatists, Augustine comes back to heavily anti-Judaic and world-denying ascetic attitudes where is earlier Manichean upbringing seems to emerge again. The tragedy of medieval Christianity will be the later Augustine’s overwhelming influence. A final section is dedicated to the monastic tradition where a curious mixture of world-denying asceticism with an astonishingly penetrating ‘science’ of introspection emerges. -/- 10. Ethics in the Arabic-Islamic Philosophy. -/- The Qurān and the qadit, that is, collections of sayings ascribed to the prophet Muhammad contain a wealth of precepts and catalogues of virtues mirroring moral contents from the Jewish and the Christian traditions, among them the basic notion of imitation of the Deity, where mercy is assumed to be its basic trait. An important tradition within Islam, namely Sufism, stressed to the utmost degree the role of mercy, turning Islam into a mystic doctrine centred on the retreat from the world, abandonment to God’s will, and a peaceful and fraternal attitude to our fellow-beings. A secular literary tradition originating in the Sassanid Empire, the literature of advice to the Prince, had for a time a widespread influence in the newly constituted Arabic-Islamic commonwealth. In a later phase, the legacy of Hellenic philosophy made its way into the intellectual elite of the Islamic world. The first important legacy was Platonic, and the Republic became the main text for Islamic Platonism. In a second phase also Aristotelian and Stoic influence were assimilated. Miskawayh’s treatise was the masterwork at the time Arabic philosophy reached its Zenith. It is a treatment of the soul’s diseases and their remedies, combining the Aristotelian doctrine of the golden mean with the Stoic doctrine of the passions and elements of Galenic medicine. Towards the eleventh-twelve centuries, a war raged among theologians and philosophers, finally won by the former with the disappearance of philosophy as such. The newly established mainstream, yet, was no kind of intolerant fanaticism. It drew from the work of mystic theologian Al-Ghazālī, the best heir of Sufism, teaching a tolerant and peaceful attitude to our fellow-beings and a passive attitude to destiny as an expression of the Divine will. -/- 11. Ethics in the Jewish philosophy. -/- The encounter between the Talmudic tradition and Hellenic philosophy had taken place for the first time in Alexandria at the time of Philo but the two traditions had parted way again. In fact, the kind of Platonic Judaism founded by Philo survived only within Christianity, in the fourth Gospel and then in writings by Clemens of Alexandria. The Talmudic literature had absorbed too a few traits from the Hellenic Philosophy, namely an idea of ethics as care of the self and a role for the education of character as propaedeutic to theoretical knowledge. In the Arabic-Islamic world, a second round started when Jewish authors writing in Arabic undertook the task to prove the full compatibility of the tradition deriving from Tora and Platonic philosophy. The culmination of this attempt is provided by Moshe ben Maimon who tried to use Aristotelian ethics as a language into which the teaching from the Pirke Avot could be translated. -/- 12. The practical philosophy revival in Latin Europe. -/- A reconstruction is carried out of a fresh start of philosophical ethics in Latin Europe at the turn of the Millennium rescuing a Platonic and Augustinian legacy, with Anselm and Peter Abelard. In this phase remarkable innovations are introduced, including Abelard’s claim of the obliging character of erring consciousness. In a second phase, the rediscovery of Nicomachean Ethics thanks to Latin translation of Arabic versions, gives birth to a new wave of ethical studies, recovering the very idea of Aristotelian practical philosophy, with the potential implication of a full legitimization of natural morality, i.e. ethics without Revelation. -/- 13. Scholastic practical philosophy: Thomas Aquinas. -/- Aquinas’s ethics is theological ethics out of which it would be vain to try to extract self-contained philosophical ethics. His treatment of topics in philosophical ethics, yet, does not boil down to the repetition of Aristotelian arguments but is rather a creative reshaping of such arguments. For example, he introduces also in the practical philosophy a first principle parallel to the principle of non-contradiction; and he also carries out a synthesis of Aristotelianism, Stoicism, neo-Platonism. Even though it is essentially moral theology, Aquinas’s doctrine - unlike Augustine – grants full citizenship to "natural" morality, firstly by rejecting the claim that the corruption of human nature due to the original sin is so radical as to leave pure nature incapable of moral goodness. The doctrine is presented in a more sophisticated formulation in a few of the Quaestiones such as De Malo and De Veritate, in the Summa contra Gentes and in the commentaries to Aristotle than in the famous Summa Theologica, but the latter work includes the only or the largest exposition of some decisive part of the theory. Thus, the Summa Theologica should be read for what it is more than criticized for not being what it was not meant to be. It was not meant to be the brilliant synthesis of all that Reason he had been able to produce with what Revelation had added about which the Neo-Thomists used to dream, but rather a manual for the training of preachers and confessors, where theoretical claims are not too ambitious, and a few serious tensions are left. Besides a jump between the Prima Secundae and the Secunda Secundae, being the former an essay in virtue theory and the latter a handbook for confessors, the most serious tension is perhaps the one between the ethics of right reason presented in most of Prima Secundae and the eudemonistic ethics developed in quaestiones 1-5 of the same part; the alternative ethical theory which also may be found in Augustine, the Stoic view of a cosmic reason eventually coincident with the moral law, was believed by Anselm (followed by John Duns Scotus and William of Ockham) to be incompatible with eudemonism. It is questionable whether Thomas was able to solve the tension proving that it is just an apparent tension, in so far as the right reason and bliss derived from the knowledge of God tend to coincide, but this is just a conjecture. Thomas’s ethics is a virtue ethics, not a law-based one, and moral judgment focuses on the virtues, particularly charity, not on the commandments and even less on absolute prohibitions; Thomas, however, would not have considered a drastic alternative between law and the virtues such as the one which has been advanced in late twentieth-century philosophy to be justified. Nonetheless, when it discusses ‘special’ virtues, it ceases to be an ethics of virtue and becomes a disappointing and often contradictory discussion of legal and illegal acts. Such a discussion takes most of the time ‘reasonable’ middle positions on controversial issues but not the alternative approach that Aristotelianism would have made possible; even when some occasional Aristotelian claim shows up, such as money’s barrenness as a reason against usury, this seems to be made by an author who apparently ignores the Aristotelian Thomas of the Prima Secundae. It is an ethic of human autonomy which recognizes the binding character of the individual conscience and, potentially, even a duty to disobey unjust laws. It is true that what Thomas writes in his discussion of the death penalty and persecution of heretics is simply disgusting, and yet we should blame Thomas the man, not the Thomist ethical theory. Finally, Thomas’s ethics is no way an ethical ‘absolutism’, as both the traditionalist Catholic theologians and secularists tend to believe, but rather an ethic of prudential judgment on the individual case. Exceptions to this approach – or better the result of logical fallacies – are provided by the thesis of the absolute character of negative precepts and of the existence of so-called intrinsically evil acts, a thesis that would simply cease to make sense in the light of Thomas’s own distinction between human act and natural act, carrying consequences that Thomas did not live long enough to draw. -/- 14. Scholastic practical philosophy: John Duns Scotus and William of Ockham. A reconstruction is carried out of the ethical doctrines by both most authoritative Franciscan doctors. Their continuity with Aquinas is vindicated against prejudice carried by centuries of polemics within the Catholic Church and tendentious disparaging of both as forerunners of execrable Reformation. Besides aspects of continuity, also the important novelties are illustrated, first John’s abandonment of Aquinas’s and Augustine’s eudemonism, asserting righteousness for righteousness’s sake, and then William’s explicit defence of the philosopher’s virtues, that is, natural morality, and his solution to the dilemma of God’s omnipotence and the universal validity of natural law extending to God himself. -/- 15. Aristotelianism interpreted by the Magistri Artium. -/- A reconstruction of the until recently forgotten ethical doctrines by the Parisian Magistri Artium, falsely depicted as ‘Averroists’ and either deprecated as heretics or mistaken for predecessors of modern secularism. In fact, they illustrate a view of ‘natural’ virtue as may be understood by human reason without the assistance by Revelation. -/- Etiamsi daremus Deum non esse. Intermediate considerations. Three considerations may be suggested by the story told in the book. The first one is that intellectual histories have been mounted in the past with the same state of mind as one may mount a war chariot. Such constructions are not very helpful as tools for understanding the past. Wars waged in the past have left the field obstructed by ruins not easy to remove even by those historians who have animated by an impartial academic motivation. They have been influenced too by consequences of past emphasis on some authors and damnatio capitis suffered by others, by stratifications left on sources by secondary literature and translations, by allotment of originally close sources to different literary genres, by the monopolization of religious texts by churches with full cooperation by secular scholars who still fear contamination. The second one is that aware or unaware ethnocentrism has carried various calamities to our comprehension of the past. Their last vestiges have surfaced again in the semi-scholarly discussion on the idea of Europe occasioned by the debate on a project of a European Constitution. Mention of Europe’s Christian roots has been the clumsiest move. Proclamations of such roots were so obvious in what they affirmed as they were totally off-path concerning what they omitted, namely that he modern European moral tradition included legacies from Middle-Eastern wisdom, Hellenic philosophy, Roman Imperial legal literature, and, besides, a Jewish legacy in turn incorporating other more ancient Middle-Eastern legacies and which has been partly conveyed by Christianity. And the Islamic-Arabic philosophy too, in so far it made the Nicomachean Ethics available to Latin Christian scholars, is one more of Europe’s roots. The third is that religious traditionalists and secularist fundamentalists have gone hand in hand for a couple of centuries in either extolling or deprecating the allegedly Modern idea of Ethics without God, first formulated by Hugo Grotius with the claim that natural law would still be valid ‘etiamsi daremus – quod sine summo scelere dari potest – Deum non esse’. The facts are, firstly, that this is not an irreligious claim and Grotius was just a pious and meek Christian and, secondly, that it is not a ‘modern’ claim but rather one more formulation of the claim that there is a natural morality, independent of divine revelation, a claim shared by Moshe ben Maimon, Aquinas and William of Ockham. -/- . (shrink)

In the texts that presented the theoretical assumptions of the Parc de La Villette, Bernard Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Jacques Derrida, prove that (...) terms such as disruption, dissociation, disfunction, disjunctions and dispersion not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette, 1985, in which the architect’s design drawings and texts explaining his concepts related to the Park de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Peter Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus a thesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the stratus of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. (shrink)

New York may be most easily recognized by its trademark skyscrapers and brick tenement buildings, but the truth is that the city is actually teeming with luxurious roof gardens and private courtyard oases. Creative gardeners and architects have risen to meet the unique challenges of the urban landscape, designing spaces that celebrate the city while providing a restful escape. New York City Gardens presents New York’s evolving tradition of garden culture through images and discussions of thirty (...) of its most outstanding gardens, from world-famous botanical gardens to richly re-cultivated public urban spaces, luxurious penthouse terraces, and innovative art gardens without soil or plants. Many of the gardens are set against vistas of the quintessential New York—Central Park, the Empire State Building, skyscrapers of Midtown, and the sensational skyline of Lower Manhattan. Other gardens reveal surprising and exotic intimate retreats from the bustle of the city. While most were designed by noted landscape architects, including Dan Kiley, Hideo Sasaki, Ken Smith, and Halsted Wells, many others were created over decades by talented homeowners themselves. As more and more city dwellers in New York and beyond look to cultivate their own kitchen and container gardens and individual outdoor sanctuaries, this book provides hundreds of inspiring images as well as historical background and insight into the practical and imaginative solutions of city garden designers. (shrink)

This paper presents a case study of Gardens and Green Spaces (GGS), a resident-driven, grant-funded project in Cleveland, Ohio working toward community change. Through both placemaking and entrepreneurial strategies, the main grant objectives are to effect change at the intersection of food (and agriculture), arts, and culture in Kinsman, a 96% Black Neighborhood on Cleveland’s east side. While community development (CD) projects are often designed by outside ‘experts’ who inform the scope and focus of grant-funded projects, this project is (...) rooted in the hypothesis that a resident-driven approach to CD will lead to increased community buy-in and participation, resulting in more lasting and substantive community change. GGS works across sectors, integrating arts, culture, and food to promote placemaking and community-based entrepreneurial engagement as a path towards greater health, equity, and economic resilience. This paper argues that community-based and resident-driven development—although not without its own challenges—can result in more holistic community transformation across sectors, with the potential for greater resident participation, sustainability, and equity. The case study presented in this paper, including in-depth interviews and neighborhood surveys, is an examination of the pilot phase of GGS, and argues that both placemaking and entrepreneurialism represent a negotiation between market driven community development and a solely philanthropic model. It provides insight into more equitable and sustainable change that has the potential to shift the traditional paradigm of expert driven, or “outside-in” community development. (shrink)

This article explores a community garden in the Northern Central Coast of California, founded and cultivated by Triqui and Mixteco peoples native to Oaxaca, Mexico. The practices depicted in this case study contrast with common agroecological discourses, which assume native people’s agricultural techniques are consistently static and place-based. Rather than choose cultivation techniques based on an abstract notion of indigenous tradition, participants utilize the most appropriate practices for their new environment. Garden participants combine agricultural practices developed in (...) Oaxaca with those learned while working on California farms. Through the process of community gardening, immigrants find a new interpretation of their own shifting indigenous identity, based on culinary and agrarian practices in a new place. Additionally, they form solidarities between historic ethnic divides of Triqui and Mixteco, based on newfound commonalities in the garden. This case study provides an important example of the current articulation, construction, and deployment of indigeneity in the context of migration and agriculture, and its implications for immigrant opportunities and futures. (shrink)

Prior to this intervention the site used to be a degraded fiscal property, that functioned as a bus yard, a police legal deposit, and a restaurant parking lot. Underneath it runs the Maldonado stream culvert, covered by a concrete slab at a depth of only -20cm. Next to the site is a 5m high railroad embankment. The plot is strategically located at the end of Juan B. Justo avenue and works as a gateway to the Tres de Febrero park (...) (also known as Bosques de Palermo, the Buenos Aires’s biggest green space designed by Charles Thays in 1875). It is situated in the neighborhood of Palermo, an area that underwent a vertiginous residential and commercial expansion since the late 90´s. -/- The design approach is influenced by the adjacent urban fragments: the grounds of the Sociedad Rural Argentina, the surrounding Avenues Santa Fe-Sarmiento; the opening of Darregueyra street expected for the near future, the implementation of historic preservation guidelines for the Tres de Febrero Park, and the proposal for the development of nearby railroad yards. -/- Specifically, the project seeks to minimize the impact of the fast traffic that runs along Bullrich avenue, improving pedestrian and cycle access to the park. At the same time it defines new landscape features, utilizing the earth made available by the tunneling works of a new subway line. -/- The project comprises the structuring of an existing 800 meter long embankment and the transformation of the sidewalk into a public promenade. This is achieved through a wider sidewalk of 12m on average, which is part of a series of longitudinal stripes ranging from high speed to quiet spaces. The first band of grass and aged tipas (tipuana tipu) buffer pedestrian and cyclist from automotive traffic. Cycle traffic is organized on its own lane. The sidewalk itself contains several bays that act as urban lounges. Next, a continuous concrete bench delimits the beginning of the slope, backed by a stripe of grass that works as a soft extension. Finally, plants for contemplation are arranged as undulating traces. Rhythmic use of retaining gabions defines longitudinal segments of varying slope, unifying the spacial criterion. This series is punctuated by an amphitheater and framed by triangular plazas at the corners. -/- Material choices for hard surfaces are constrained by concerns of durability, low cost, and consistency with other ongoing public works. -/- Hard materials, as well as the plant selection needed to be low-maintenance. The palette was kept to reinforced concrete, granitic slabs, and granite stone in large size –forming retaining gabions- and as loose finishing for pavements. Likewise, the lack of a protective enclosure and of continuous surveillance dictated that urban furniture and fixtures be anti-vandalic. The stealing of these components –from inspection lids, to benches, to plants- is a common problem in urban spaces in many Latin American cities. To prevent this, fixtures must be designed according to precise specifications regarding their weight, fixing and anchoring systems, and mechanical parts. -/- Sidewalks are organized through a 6 meter grid made of granitic white slab, infilled with textured combed nonslip concrete modules. Extended bays and corner squares are finished with white and black slabs respectively. These materials are similar to another used in public spaces under construction, in the believe that it creates a collective identification of themselves along the city. -/- The continuous reinforced concrete bench is 1.10 m wide, in order to allow people to use it in non-conventional ways. Further up on the slope, undulating paths separate plant species and provide access for gardening, but are also open to use by the public. They are paved with 2 meter-long precast concrete slabs (smaller and lighter pieces were avoided to deter robbery). As they reach the gabions they connect with sloping paths covered with loose granitic stones. The gabions themselves allow the creation of varying slopes while contributing to retaining the soil, which is reinforced with geosynthetic fabric in the perimeter to avoid landslides originated by strong rains typical of the region. -/- Urban furniture is featured on the wider bays of the sidewalk and at corner plazas. It includes seats, water fountains, bicycle racks, wastepaper baskets. As a counterpoint to the linear concrete bench, groups of concrete seats are arranged informally. These seats are a reinterpretation of the dynamic BKF chair (also known as Butterfly chair), the classic Argentinean design of the 1930’ by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy. A few low concrete tables complete these spaces as authentic urban lounges. Lighting design accompanies the general features of the project and creates a new scenography emphasizing night-time usage. -/- Landscape gardening criteria is set up by a selection of various species of high-resistant pasture (grass). The higher the slope, the higher the grass, increasing the final volumetric result. Based on considering the original tipas line (tipuana tipu, a species from the north of Argentina, yellow flowering) as a vertical wall that frames the view, the horizontal stripes contain a single species each, differing in size, shade and flowering periods –adding, in the middle band, a changing color on the big green plane slope in the same chromatic range. The final configuration of the stripe sequence from bottom to top: bermuda grass, bulbine frutescens, euryops pectinatus. The upper band existing native species is reinforced with new samples: paspalum exaltatum + cortadera selloana and ipomea + thumbergia climbing the railway fence. Each sector between gabions has an automated system of drip irrigation. Near the corner plazas, several palms are planted to provide shade and identity to the street-crossing. -/- The intervention proposes an ambivalent effect on the landscape, trascending the merely ornamental by accompanying the motorist in speed, while conforting the pedestrian with spaces for contemplation and urban relax. (shrink)

Enhanced by 140 images, a documentary chronicle of Chicago's parks profiles thirty-one of the city's finest spaces--both contemporary and historical-along with detailed vignettes and captions to trace their development.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Wiley Blackwell Companion to Religion and Ecology ed. by John HartDannis M. MattesonThe Wiley Blackwell Companion to Religion and Ecology Edited by John Hart OXFORD: JOHN WILEY & SONS LTD, 2017. 560 pp. $195.00If ecology is the study of "relationships in a place," as John Hart reminds readers in the preface of the Wiley Blackwell Companion to Religion and Ecology, it is fitting that this volume centers (...) its thrust relationally (xxiv). Throughout its pages, a diverse community of authors explores the relationships among religious and spiritual traditions, human life, and care for the Earth. Defining religion as a language with which to grapple with meanings assigned to cultural values (xxi), this volume turns to the meanings that humans have historically placed on their relationship to the Earth within spiritual and religious frameworks. It further ponders how our religions and spiritual traditions reflect a relationship to the Earth that is conscious of the status of our planet's health today. Offering insights from Buddhism, Hinduism, Islam, Judaism, Eastern and Western Christianity, and indigenous perspectives, the authors reflect on new and old insights from within their tradition that speak to specific ecological issues. The volume is split into four parts, flowing thematically from conceptual and descriptive, to concrete visions for practical steps toward healing the Earth. [End Page 199]Part 1 describes the various ways religious and spiritual traditions enhance ecological consciousness. Seyyed Hossein Nasr shows how the Qur'an depicts the created order as a reflection of God's face, suggesting that we are literally defacing the face of God in our industrial recklessness. David Mevorach Seidenberg presents a Jewish eco-theology, which decenters the human as the pinnacle of creation. In part 2, the authors further draw out the socioecological implications of religious teachings. Melanie Harris argues that religious communities must open their eyes to the link between structural violence against black women to structural violence against the Earth. She maintains that this analysis is key to finding solutions for ecological reparations. When Harris argues that social justice is Earth justice, she is claiming that the dismantling of both white supremacy and colonial ecology go hand in hand.Part 3, titled "Ecological Commitment," highlights the specific contexts in which the relationship between religion and ecology are embedded. Myrna Perez Sheldon and Naomi Oreskes trace the entanglement of evangelical identity with the politics of scientific doubt. In response, they suggest a new framework for evangelical participation in environmental restoration that moves beyond a political identity that is chained to right-wing doubt about climate change. In asking how "Korean Christianity can become more Nature-conscious, Nature-related, and Nature-integrated," Yong Bum Park points to Chondogyo, a Korean indigenous religion (333). This tradition is shown to take seriously the ecological crisis as a "crisis of consciousness and conduct," encouraging religious people to foster a socioecological vision of restoration (333).Part 4, which provides examples of concrete visions and projects on the ground, ends with John Hart's reimagining of the Earth as a "common commons." The notion that the Earth is a sacred "common commons" of "interdependent, integral, evolving relational community" requires conversion in light of how religious people relate to the Earth today (437). According to this commons ethic, land should be "commonized and communalized" rather than rendered private property (476).I highly recommend this volume for teaching undergraduate and graduate courses that are exploring the intersection of religion and ecology, especially courses focusing on religious ethics. Though the breadth of this work might strike the reader as boundless, herein lies its strength, especially for teachers of Christian ethics. This resource broadens the conversation recently highlighted by Pope Francis in Laudato Si' beyond the Christian perspective on ecology. The Companion models interreligious dialogue, opening to the diverse ways many different religious and spiritual traditions demand action for environmental restoration. [End Page 200]Dannis M. MattesonLoyola University ChicagoCopyright © 2018 Society of Christian Ethics... (shrink)

In the cities of industrialized countries, the sudden keen interest in urban agriculture has resulted, inter alia, in the growth of the number and diversity of urban collective gardens. While the multifunctionality of collective gardens is well known, individual gardeners’ motivations have still not been thoroughly investigated. The aim of this article is to explore the role, for the gardeners, of the food function as one of the functions of gardens, and to establish whether and how this (...) function is a motivating factor for them. We draw on a set of data from semi-structured interviews with 39 gardeners in 12 collective gardens in Paris and Montreal, as well as from a survey on 98 gardeners and from field observations of the gardeners’ practices. In the first part we present the nature and diversity of garden produce, and the gardeners’ assessment thereof. In the second part we describe the seven other functions mentioned by the gardeners, which enables us to situate the food function in relation to them. We conclude that the food function is the most significant function of the gardens, and discuss the implications for practitioners and policy makers. (shrink)

Rooftop gardens, rooftop greenhouses and indoor farms have been established or planned by activists and private companies in Berlin. These projects promise to produce a range of goods that could have positive impacts on the urban setting but also carry a number of risks and uncertainties. In this early innovation phase, the relevant stakeholders’ perceptions and social acceptance of ZFarming represent important preconditions for success or failure of the further diffusion of this practice. We used the framework of acceptance (...) to investigate the stakeholders’ attitudes and to identify the key factors that might hinder or promote the introduction of ZFarming. The results are based on an analysis of 38 qualitative interviews conducted with key stakeholders in Berlin. As the results show, major perceived benefits of ZFarming include improved consumer awareness, education, and the creation of experimental spaces. Stakeholders further perceive opportunities for resource savings, new business models, repurposing of abandoned buildings and improved aesthetics. Major perceived risks are associated with growing techniques that are considered “unnatural”, health risks, conflicts with images of traditional agriculture, the rejection of animal production in urban areas, the risk of projects being too expensive and too complex or being implemented too early, i.e. before the mechanisms are fully understood. The analysis further reveals which contextual factors—political, legal, market-related, spatial or societal—might negatively or positively influence ZFarming acceptance. (shrink)

Kant argues that any argument for a transcendent God presupposes the logically flawed ontological argument. The teleological argument cannot satisfy the demands of reason for a complete explanation of the meaning and purpose of our universe without support from the cosmological argument. I avoid the assumption of a perfect being, and hence the ontological argument, in my version of the cosmological argument. The necessary being can be identified with the creator of the universe by adding analogical mental relations. The (...) class='Hi'>creation of the universe is then shown to reflect modern scientific cosmology as well as stories and metaphors in the Eastern and Western religious traditions and to resolve the problem of evil. (shrink)

This article studies the rewriting of the second creation narrative in the Bible in Jubilees 3:1-31. It shows that the author of Jubilees 3 is not only putting his own views into the biblical text. He is in the first place a careful reader of Genesis 2-3 and other biblical texts. The biblical text posed some difficulties to him and he tries to solve many of these with his rewriting. Characteristic of this rewriting is especially harmonisation. Sometimes he supplies (...) details for explaining the text. The point of departure is most often the biblical text itself, although, at the same time, he seemed to be influenced by current interpretations of certain aspects of the text. (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coleridge’s Intellectual Intuition, the Vision of God, and the Walled Garden of “Kubla Khan”Douglas HedleyIn his seminal work of 1917 Das Heilige Rudolph Otto quotes a number of passages as instances of the “Numinose.” Alongside those quotations from more conventional mystics, Plotinus, and Augustine, Otto refers to Coleridge’s “savage place” in Kubla Khan. 1 It is also pertinent that, when trying to define Romanticism, C. S. Lewis appeals (...) to the longing for the “unnameable something” fired by “morning cobwebs in late summer” or the “opening lines of Kubla Khan.” 2 Perhaps it is a mere coincidence that two of the most penetrating and influential scholars of religion in the twentieth century should appeal to Coleridge and his poem “Kubla Khan.” I wish to suggest reasons why the link between the imagery of “Kubla Khan” and a mystical experience of transcendence is not merely fortuitous. Indeed the connection between Coleridge’s mature writing and the imagery of the poem shows that we have good reason for seeing him as consciously writing, both as a poet and as a philosopher, within a visionary mystical tradition. I propose that it is no accident that Coleridge’s most visionary poem draws upon the central Christian image of paradise: the walled garden.This is an attempt not to interpret “Kubla Khan” but rather to suggest Coleridge’s place in the history of ideas as a Christian poet and philosopher. He is best described as an essentially speculative and mystical philosopher-theologian. 3 [End Page 115] By “speculative” I mean a theology inspired by those Church Fathers who emphasize the “vision” of God as an intellectual contemplation (speculari) of the transcendent Absolute, the prius of all being. The scholastics, the medieval German mystics, the Cambridge Platonists, and some of the German Idealists have all been influenced by such a speculative impulse. 4 Hegel uses the term “speculative” for his Dialectic. 5A philosophical or “speculative” approach to theology has invoked hostility from Tertullian onwards. Coleridge’s philosophy of religion often excited the fear of the new pantheistic German theology. John Henry Newman castigated Coleridge’s speculation as more heathen than Christian. Yet the speculative movement in theology spawned both a radical and a conservative wing, and we have to judge Coleridge’s thought in the light of the more conservative branch of nineteenth-century Idealism. D. F. Strauss jettisoned the transcendent “yonder” of traditional theology in favor of his philosophical or “scientific” approach to Christianity. Coleridge, however, could not adhere to theology of immanence; he wished to present a theology of an adamantly transcendent character.The walled garden is an eminently appropriate image of transcendence and was used as such by the fifteenth-century Christian Platonist Nicholas of Cusa, who is one of the links between Patristic theology and German Idealism. I shall draw upon his book The Vision of God as a paradigm of the sort of speculative mysticism which informs Coleridge’s metaphysics and much of his poetry. 6 Reflection upon an exotic poetic image may help us to clarify one of Coleridge’s philosophical tenets; the walled garden can be seen to symbolize that transcendent numinous reality, which the soul inchoately and barely consciously seeks and strives for.Coleridge’s “Mysticism” and the Imagery of “Kubla Khan”Richard Holmes claims that the “Kubla Khan” provides evidence of a transition in Coleridge’s interests and presents this switch from “classical and religious mythology” to the “drama of self-knowledge... the growth of consciousness and civilisation” as a key to Coleridge’s poetry. Holmes writes: [End Page 116][H]is instinct that the modern Epic subject must now centre on “the mind of man,” through “travels, voyages and histories,” shows a shift of poetic focus characteristic of the new Romantic age. The Epic could no longer draw on classical or religious mythology for the framework of its action. It must become contemporary with the world of scientific, anthropological, and psychological exploration: it must centre in some way on the drama of self-knowledge, on the growth of consciousness and civilisation. 7Coleridge would not have seen a conflict between the drama of self-consciousness and classical and religious mythology. In “Kubla... (shrink)

In this dissertation, I will examine the problem of theological fatalism in St. Augustine and, specifically, whether or not Augustine was philosophically justified in his belief that his views on divine grace and human freedom could be harmonized. As is well-known, beginning with his second response To Simplician (ca. 396) and continuing through his works against the semi-Pelagians (ca. 426-429), Augustine espoused the Pauline doctrine of all-inclusive grace: that the fallen will’s ability to accomplish the good is totally a function (...) of God’s elective grace. What, then, does the fallen will do to work out its own salvation? There is the further issue of how to reconcile Augustine’s rather extreme emphasis on grace in his later works with the more balanced picture we receive in his sermones ad populum, written throughout his forty-year preaching career. In many of these sermons, even those written during the Pelagian controversy, Augustine is careful to leave space for both divine and human initiative in the process of our justification within the totus Christus, or ‘whole Christ.’ How we can understand Augustine in his role as doctor gratiae and as preacher of human freedom will be a major inquiry of this dissertation.The most serious obstacle to moving forward on these problems has been and remains the essentialist interpretation of Augustine’s Trinitarian theology by most commentators. On their interpretation, Augustine thought that there were no real distinctions within the Trinity, with each of the three divine persons and their actions sharing in the absolute unity of the divine essence. Holding this interpretation not only does away with the distinctness of each of the persons, but also requires all of God’s different powers and attributes, including willing and foreknowing, to be coalesced into one another without distinction in the divine essence. God’s foreknowledge is thereby identified with God’s will, which necessarily leads to theological fatalism: God would have to will everything that He foreknows, and God would have to foreknow everything that He wills. Since God is omniscient, He wills everything that will happen, including the future willings of the fallen human will.It cannot be denied that there are texts in the Augustinian corpus that seem to point to a reading of the Trinity as absolutely simple. But this study will endeavor to show that there are also other largely overlooked texts in On the Trinity, the Confessions, and his Commentaries on the Literal Interpretation of Genesis (among others) that argue for various distinctions within the Trinity to make sense of the relation between Creator and creature, and the differences between the divine processions of generation/spiration, and the act of creation. These texts will be shown to parallel very closely the position of the Eastern Orthodox Christian tradition, which consistently uses the real distinction between God’s essential being and energetic activities (also known as the essence-energy distinction) to avoid the problem of theological fatalism. This rich theological and philosophical tradition, from the time of the fourth-century Greek Fathers to the Byzantine tradition that followed, differs less with Augustine concerning the essentials of Trinitarian theology and its practical implications for solving the problem of making human freedom and divine grace compatible than has been hitherto thought. (shrink)

This paper investigates a well-known case of simultaneous discovery in twentieth-century chemistry, the origins of the concept of hybridisation, in the light of Kuhn's insights. There has been no ambiguity as to who discovered this concept, when it was "rst in print, and how important it was. The full-#edged form of the concept was published in 1931 independently by two American scientists John C. Slater (1900}1976) and Linus Pauling (1901}1994), although both of them had made their ideas public earlier: Slater (...) at the American Physical Society meetings in 1930, and Pauling in the Proceedings of the National Academy of Sciences in 1928. Slater and Pauling both argued for the necessity of using an s orbital as well as three p orbitals in the carbon atom in order to explain carbon's four valences and the tetrahedral structure of methane. The metaphor &hybridisation' for denoting this mix of s and p orbitals was "rst used by Robert S. Mulliken and J. H. Van Vleck before gaining currency with the scienti"c community around 1935.2 The concept of hybridisation was indeed indispensable for extending the quantum-mechanical interpretation of the chemical bond as an electron pairing from diatomic molecules to polyatomic ones. To be sure, the emergence of hybridisation attests to scientists' growing interest in exploring the borderland between physics and chemistry, a trend that led to the creation of physical chemistry in the late nineteenth century and of chemical physics and quantum chemistry in the 1920s and 30s. Slater and Pauling themselves experienced and on many occasions talked about the fruitfulness of interdisciplinary research; and historians have legitimately illuminated their works by examining them in this broad context.3 Yet the careful analysis of their research notes and published papers reveals that Slater and Pauling were working in quite disparate disciplinary traditions, with di!erent approaches, for di!erent audiences, and towards di!erent goals. The aim of this paper is to explore their di!erent routes to a common destination*hybridisation*and thereby to explicate tensions existing between physics and chemistry amidst the institutional and conceptual overlapping of the two disciplines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 187-189 [Access article in PDF] Blue Jean Buddha: Voices Of Young Buddhists. Edited by Sumi Loundon. Foreword by Jack Kornfield. Boston: Wisdom Publications, 2001. xxi + 234 pp. Blue Jean Buddha is not the name of one of this year's short-lived pop sit-coms nor is it a trendy apparel statement. You will not find low-rise, hip-hugging jeans and navel-studded co-eds in this collection of lively (...) and articulate essays by young American Buddhists in their late twenties and early thirties. (But then again you might have found them if today's teen Buddhists were represented!) Blue Jean Buddha is highly readable and mind-opening to those unfamiliar with the growth of Buddhist communities and practitioner networks in North America as well as for text and church-bound academicians of Buddhist-Christian discourse.Blue Jean Buddha:Voices of Young Buddhists is a medley of twenty-nine upbeat and down-home personal testimonies of mostly Westerners who were raised as Buddhists in the United States or who converted early on in life. The book is divided into four parts: Lessons, Life Stories, Livelihood, and Reflections. Refreshingly immediate introductory pages (really a series of questions!) and the concluding Reflections are offered by editor Sumi Loundon, an artist and graduate of Harvard Divinity School and former chair of the Harvard Buddhist Community. Sumi herself was born into a small Zen community in rural New Hampshire, practiced vipassana for years and is now committed to the Buddhist traditions of Korea, where I first met her at a temple in Seoul. She is planning to come out with a second volume of essays by more representatives of America's fertile Buddhist garden in 2004.The essays in Blue Jean Buddha are a cornucopia of commentary and questions about the reception of Buddhism in the West, the spiritual odysseys of exceptional young seekers, and thoughtful ruminations on the transformative effects of dharma practice for personal and social change. These are the voices of American Buddhism at its grassroots, in the lives of young Buddhists as they are actually living it. One contributor, Elijah, age twenty-eight, was recognized as a tulku by the Dalai Lama when he was eight; another voice is Hanuman, twenty-four, a musician and proud "Bu-Hin-Chris-Jew" whose senior performance was called "The Mind Is a Belligerent Puppy—Easy to Train, Difficult to Discipline." Yet another contributor is Liane, a Japanese American Jodo Shinshu follower, thirty-three, whose faith was tested after she became paralyzed from the neck down in an automobile accident when she was twenty.Blue Jean Buddha is one of those versatile books you can recommend to almost anyone you meet to introduce them to the living practice of Buddhism in contemporary America. The personal vignettes are short, compelling, and easy to read on a plane, on a bus, or at your bedside. College students at all levels will enjoy it because of the open spirit with which it is presented. It asks many leading questions about [End Page 187] Buddhism and the nature of spiritual life in general. Readers will be happily surprised, remarking, "Hey! I was there, too! That's what I was thinking!" You can read and reread it many times and still get some new personal insight out of it. I certainly did, assisting my wife, Jinsuk Lim, preparing a Korean translation of the book. A best-seller among Eastern spiritual titles distributed by Amazon.com and Shambhala, the Korean version sold very well in Buddhist and more intellectually progressive circles. Those conversant with Buddhist studies in general as well as meditation and transpersonal psychology will recognize a few familiar surnames; candid and compassionate offspring of illustrious parents have contributed to Blue Jean Buddha. I will leave it to SBCS members in the know to seek out and identify them!As for the interface of Buddhist and Christian beliefs and interfaith practice of concern to our seasoned readers, let us allow editor Sumi Loundon to offer her musings from her own youthful experience: The essays in this book... (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)

Urban agriculture (UA) is spreading within the Global North, largely for food production, ranging from household individual gardens to community gardens that boost neighborhood regeneration. Additionally, UA is also being integrated into buildings, such as urban rooftop farming (URF). Some URF experiences succeed in North America both as private and community initiatives. To date, little attention has been paid to how stakeholders perceive UA and URF in the Mediterranean or to the role of food production in these initiatives. (...) This study examines the promotion and inclusion of new forms of UA through the practice of URF and contributes to the nascent literature on the stakeholder and public perceptions of UA. It seeks to understand how those perceptions shape the development of new urban agriculture practices and projects. Barcelona (Spain) was used as a Mediterranean case study where UA and URF projects are growing in popularity. Through semi-structured interviews with 25 core stakeholders, we show that UA is largely perceived as a social activity rather than a food production initiative, because the planning of urban gardens in Barcelona was traditionally done to achieve leisure and other social goals. However, several stakeholders highlighted the potential to increase urban fertility through URF by occupying currently unused spaces. As a result, the positive valuation of URF depends on the conceptualization of UA as a social or food production activity. In turn, such conceptualization shapes barriers and opportunities for the development of URF. While most UA-related stakeholders (e.g., food co-ops, NGOs) preferred soil-based UA, newer stakeholders (e.g., architects) highlighted the economic, social and environmental opportunities of local and efficient food production through innovative URF. (shrink)

"... Dr. Ihde brings an enlightening and deeply humanistic perspective to major technological developments, both past and present." —Science Books & Films "Don Ihde is a pleasure to read.... The material is full of nice suggestions and details, empirical materials, fun variations which engage the reader in the work... the overall points almost sneak up on you, they are so gently and gradually offered." —John Compton "A sophisticated celebration of cultural diversity and of its enabling technologies.... perhaps the best single (...) volume relating the philosophical tradition to the broad issues raised by contemporary technologies." —Choice "... important and challenging... " —Review of Metaphysics "... a range of rich historical, cultural, philosophical, and psychological insights, woven together in an intriguing and clear exposition... The book is really a pleasure to read, for its style, immense learning and sanity." —Teaching Philosophy The role of tools and instruments in our relation to the earth and the ways in which technologies are culturally embedded provide the foci of this thought-provoking book. (shrink)

The collapse of communism and the transition to a market economy and political democracy in Eastern and Central Europe have been accompanied by an outburst of nationalist and patriotic passions. Most commentators see this as a negative phenomenon, a narrow-minded reaction to the void after a long period in which politics was inspired by ideological excess, or a retreat toward a mythical past when confronted with a highly uncertain future. Others look at it in a more positive way: after (...) all those years of mindless abstractions, should we not welcome this return to concrete, tangible commitments? But of course, especially in the Balkans, nationalism is so tangible that we would rather have a void than this frightening concrete reality. From an ethical point of view, patriotism and nationalism are suspect because most moral philosophers would like authentic ethical rules to be inspired by universalistic schemes of thought. On their view, morality and ethics are rational matters and as such they are threatened by strong emotional attachments.Although I distrust all forms of fanaticism and romanticism, I would like to argue that the communitarian criticism against universalistic ethical and contractarian political theory should be taken seriously. At the same time, I believe that the reference to communitarianism cannot be a permit for irrationalism, the glorification of unquestioned tradition or the creation of scapegoats. In an unmitigated form, neither a strict universalism or contractarianism, nor a myopic communitarianism look very attractive. The former neglects the problem of the motivation of the actors, the latter can be suspected of underestimating or completely ignoring the question of pluralism in contemporary society. Therefore I would plead for an amended communitarianism, and I would like to show that patriotism has some very desirable consequences as well, especially for an individualistic society. (shrink)

What is life? Is it just the biologically familiar--birds, trees, snails, people--or is it an infinitely complex set of patterns that a computer could simulate? What role does intelligence play in separating the organic from the inorganic, the living from the inert? Does life evolve along a predestined path, or does it suddenly emerge from what appeared lifeless and programmatic? In this easily accessible and wide-ranging survey, Claus Emmeche outlines many of the challenges and controversies involved in the dynamic and (...) curious science of artificial life. Emmeche describes the work being done by an international network of biologists, computer scientists, and physicists who are using computers to study life as it could be, or as it might evolve under conditions different from those on earth. Many artificial-life researchers believe that they can create new life in the computer by simulating the processes observed in traditional, biological life-forms. The flight of a flock of birds, for example, can be reproduced faithfully and in all its complexity by a relatively simple computer program that is designed to generate electronic "boids." Are these "boids" then alive? The central problem, Emmeche notes, lies in defining the salient differences between biological life and computer simulations of its processes. And yet, if we can breathe life into a computer, what might this mean for our other assumptions about what it means to be alive? The Garden in the Machine touches on every aspect of this complex and rapidly developing discipline, including its connections to artificial intelligence, chaos theory, computational theory, and studies of emergence. Drawing on the most current work in the field, this book is a major overview of artificial life. Professionals and nonscientists alike will find it an invaluable guide to concepts and technologies that may forever change our definition of life. (shrink)

While Statius' decision to treat events in landlocked Thebes offered limited opportunity to integrate into his poem a maritime episode, which had become a staple epic ingredient by the first centurya.d.,theThebaidis dotted with references to the Argonauts' quest for the Golden Fleece, including a narrative flashback of the crew's time at Lemnos (Theb. 5.335–498). Following in a long tradition of cross-contamination between Argonautic and Theban literary texts (as shown by, for example, the ApollonianArgonautica's use of Antimachus'Thebaid), Statius' poem also (...) evokes works of literature which narrate the legend, notably theArgonauticasof Apollonius Rhodius and Valerius Flaccus. A lack of scholarly focus on this latter area has generally led to a piecemeal scrutiny of individual allusive passages rather than a systematic treatment. However, Stover's recent paper paves the way for a more productive approach through its contention that theThebaidmakes widespread use of the mythic subject matter: ‘It … appears that Statius frequently appropriates the Argonautic tradition and that he does so largely to present the Argives as quasi Argonauts. This suggests that their adventure to conquer Thebes is analogous to the Argonauts’ voyage to Colchis.'. (shrink)

To Korean people by the end of the 19th century who had previously enjoyed only traditional music genres, the music introduced by the hands of the missionaries must have been very new and unfamiliar. One hundred and a few decades since the meagre beginning of the meeting between the two has now passed, Korea has transformed into a modernized society where all kinds of music are performed and enjoyed, among which Western classical and popular music exist with considerable weight. In (...) the course of the development, there were constant exchanges between Korean traditional music and Western music. Korean traditional music has been subject at one end to defensive modification under the motto of transmission and at another end to aggressive destruction of some core aspects of the tradition under the motto of re-creation. This phenomenon creates important aesthetic issues in this study deals with the spectrum between the two ends drawn up by the traditional vocal genre, gagok. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Crystal Order That Is Most Concrete:The Wittgenstein HouseHui Zou (bio)IntroductionIn the instruction of architectural history, some historical references have to be mentioned in terms of the relationship between building and language. In Chapter I, Book II, of The Ten Books on Architecture, the ancient Roman theorist Vitruvius discussed the "origin of the dwelling house." According to him, the "primitive hut" originated from the gathering of men around a (...) fire through communicating in language.1 In the primitive hut, the origin of architecture was co-presented with the origin of language; the language helped establish a harmonic relationship, which developed builders' construction collectivity. Such a language-collectivity relationship was witnessed in the record of the Tower of Babel in the biblical scripture where the Lord decided to stop the human beings' construction of the tower by "confus[ing] their language there."2 During the Renaissance, the alphabetic language and the design of buildings were correlated through the application of geometry that was supposed to embody the "divine proportion." In the Franciscan professor Luca Pacioli's book On Divine Proportion, letters of the alphabet were geometricized to become objects of contemplation for tracing "God's light."3 In Chinese gardens, there has been a long tradition of naming a specific view with a poetical phrase that thematicized the scene into a meaningful unity of the view and the viewer—jing.4 In all these historical cases, language and building were integrated into a cosmological picture grounded in divine transcendence.After the modernism in architectural history of the 1960s and 1970s, a loss of meaning in architecture was widely observed,5 and the interrelationship between language and architectural design began to emerge as a prominent issue. Several trends in architectural theories during the 1960s and 1970s studied how meaning was created through architectural design. One was the post-modern development in architecture that sought to apply classic architectural elements to the facades of new buildings as gestures to [End Page 22] the past.6 Another trend was phenomenological, which attempted to discover a common language of building contexts that led to building humanized living environments.7 Yet another trend was to apply linguistic approaches to the rational methodology of architectural analysis.8 The analogy of building with language was provoked by an impelling sense of the crisis that the traditional embodied order was being lost in the prevalent instrumentalized practice of architecture.The predicament of the loss of meaning in contemporary architecture can be traced as far back in philosophy as the splitting of mind and body proposed by René Descartes in the seventeenth century. This split began to distance architecture from its traditional embodiment of transcendental meanings in the second half of the eighteenth century9 and finally led to the division of the metaphysical and physical parts in modern architecture, especially after the industrialization of the nineteenth century. Correspondingly, language became an instrumental means for architecture to impose posterior "ideas" to the material bodies of buildings rather than acting as an inherent component of architectural design for the creation of meaning in architecture. The desire for meanings in modern architecture, based on the split of the metaphysical and physical, theoretically catered to linguistic research, such as semiotics, and tended to define architecture as a symbol. The linguistic structure of signifier-signified was, however, coarsely transplanted into architectural theory and reduced architectural symbolism to a simple dualism of idea and form in which the former was usually arbitrarily applied to the latter by a designer. Such an arbitrary imposition of external "meanings" onto an architectural form through language intensified their separation, which in turn produced nihilism in architecture.The lessons learned from the transplantation of linguistic studies into architectural theories remind us that we need to pay close attention to the historical events that could open up the interaction between language and building and reveal the "fundamental linguistic character of our experience of the world" in Gadamer's sense.10 A house designed and built by Austrian philosopher Ludwig Wittgenstein (1889-1951) provides a unique case for us to contemplate this issue. My historical study of the Wittgenstein House is not to understand Wittgenstein's subjective intentions... (shrink)

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end of (...) the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

Why do gardens matter so much and mean so much to people? That is the intriguing question to which David Cooper seeks an answer in this book. Given the enthusiasm for gardens in human civilization ancient and modern, Eastern and Western, it is surprising that the question has been so long neglected by modern philosophy. Now at last there is a philosophy of gardens. David Cooper identifies garden appreciation as a special human phenomenon distinct from (...) both from the appreciation of art and the appreciation of nature. He discusses the contribution of gardening and other garden-related pursuits to "the good life." And he distinguishes the many kinds of meanings that gardens may have, from their representation of nature to their spiritual significance. A Philosophy of Gardens will open up this subject to students and scholars of aesthetics, ethics, and cultural and environmental studies, and to anyone with a reflective interest in things horticultural. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 115-132 [Access article in PDF] Schiller's Theory of Landscape Depiction Jason Gaiger This paper offers a critical discussion of the theory of landscape depiction which Friedrich Schiller developed in an important but neglected article on the work of Friedrich Matthisson, published in 1794. 1 The question of the value and status of landscape painting and poetry was far from settled at (...) the end of the eighteenth century, and Schiller's essay should be seen as making an important contribution to an ongoing debate. 2 The second half of the eighteenth century is marked by a profound ambivalence towards the natural world. On the one hand there is a remarkable "rediscovery" of nature, evidenced in such diverse but related phenomena as the vogue for English gardens and the appreciation of wild and "untamed places," such as the Alps and the Herz mountains. It is also the age of "sentiment," embracing a heightened sensitivity to all aspects of the physical world. And yet when we turn to the visual arts, we find landscape painting ranked far below history painting and portraiture. Precedence is given to the representation of human actions and emotions, and the depiction of the human figure remains the highest goal of ambitious art.The modern hierarchy of the genres was first established on a firm theoretical and practical basis with the founding of the French Royal Academy in the seventeenth century. The painter of living animals is ranked higher than the [End Page 115] painter of inanimate nature who depicts "choses mortes et sans mouvement." 3 The painter of human subjects, who imitates "the most perfect work of God," stands higher still. The highest achievement to which the artist can aspire, however, is history painting, the depiction of groups of figures in themes derived from biblical and mythical sources. To achieve this, the artist cannot depict what he sees but must employ both knowledge and imagination. The fundamental opposition here is between painting as a merely imitative or mechanical art, which is addressed to the eye alone, and painting as a work of "invention" or "imagination," which is addressed to the mind. Only the latter constitutes a properly liberal art, entitling the painter to stand alongside the poet as "un auteur ingénieux et savant" over and above the mere artisan or skilled laborer.The great popularity enjoyed by landscape painting in the seventeenth and eighteenth centuries was not met by any comparable elevation in its status as a fine art. Addressing students of the Royal Academy in London in 1770, Joshua Reynolds could continue to dismiss landscape and still-life as the "meaner walks of painting" which require only "mechanical" expertise. 4 For Reynolds the status of painting as a fine art is established through its treatment of the great subjects of history painting, that is, the depiction of human passions and the intellect. Only in tackling such themes does the artist succeed in addressing the imagination, which Reynolds describes as the "great end of art." 5 Although of comparatively recent origin, the genre of "landscape poetry" remained equally problematic and could not easily be reconciled with classicist ideals. New categories seemed to be required to comprehend the work of poets such as Albrecht von Haller and James Thomson, in which the varied and ever-changing aspects of the natural landscape were made the central protagonists of the poetic drama. While traditional forms such as the bucolic, the Arcadian, and the pastoral allowed the depiction of rural existence, the new "descriptive poetry" sought to celebrate the life of nature independently of man's intervening presence: it is nature itself rather than man's relation to nature which is made the poet's primary concern.Schiller's review of the third, expanded edition of Matthisson's poetry appeared in two parts in the Jenaer Allgemeine Literatur-Zeitung, 11-12 September 1794. While the second half of the review is given over to a detailed discussion of Matthisson's poetry, the first part is reserved for an extended theoretical discussion in which Schiller... (shrink)

The Epistle of Forgiveness or A Pardon to Enter the Garden, by Abū l-ʿAlāʾ al-Maʿarrī, vol. 1: A Vision of Heaven and Hell Preceded by Ibn al-Qāriḥ’s Epistle. Edited and translated by Geert Jan van Gelder and Gregor Schoeler. Library of Arabic Literature. New York: New York University Press, 2013. Pp. xxxviii + 423. $40.

Should the city be read as a negative or a positive? Is it a tissue of buildings, separated by streets and squares, or is it a series of public spaces: streets, squares, gardens, parks—between which buildings rise as enclaves of private and semi-private volume?

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Imperfect Garden: The Legacy of HumanismSandra Rudnick LuftImperfect Garden: The Legacy of Humanism, by Tzvetan Todorov; 254 pp. Princeton: Princeton University Press, 2002, $45.00.Tzvetan Todorov begins Imperfect Garden with an arresting premise: that the greatest achievement of the modern age—the moderns' assertion of the freedom of the human will, unlimited by allegiances to God, nature, or reason—was the fruit of a pact with the devil. (...) Though a familiar idea, Todorov uses this premise to provide a richly detailed map of the intellectual currents of the age, illuminating in the process the dangers inherent in the age's acceptance of this pact.The price to be paid for human free will would become apparent only in the following centuries—a separation from God, leading to secularism and materialism; a separation from other humans, culminating in a loss of sociality and a fall into radical isolation; ultimately, a loss of self, its unity dispersed into an "anomalous collection of impulses." Todorov delineates the age's four responses to this bargain, and the acquisition of human autonomy. They account for the four families whose interrelations characterize modernity: the conservative, which considers the three-fold price of autonomy too high, rejecting it for the authority of tradition; the scientistic—a diverse set of responses derived from modern science, historicism, Marxism, Darwinism, all of which deny the existence of human freedom and emphasize some form of determinism based on the laws of nature, reason, or history; the individualist, for which the "loss" of God, society, and self represents merely an extension of human liberation; and the humanist, which, while valuing human autonomy, does not want to [End Page 425] pay its price. Believing it can maintain communal existence, shared values, and responsible selfhood while acting out of an autonomous will, the humanist family wants to have its cake and eat it too, a desire Todorov clearly shares.Todorov delineates the views of these four families through close readings of their representative figures. Limiting himself to French authors, he includes Bonald and Tocqueville as conservatives; Condorcet, Diderot, the Encyclopedists as scientistic types; Pascal, La Rochefoucauld, De Sade, and Helvetius as individualists. Among the humanists, who are his focus, he emphasizes Montaigne, Descartes, Montesquieu, Rousseau, Constant, and Tocqueville again. While for me the primary value of Imperfect Garden is its contribution to the history of ideas of French humanism from the seventeenth to the nineteenth centuries, Todorov himself has a larger, more ideological goal. His interest is not primarily historical, but typological. He wants to crystallize the insights of his authors, distilling an ideal type whose characteristics include the ability of humans to initiate their own actions, which he calls the "autonomy of the 'I'," the ability to make another person the end of one's acts, which he calls the "finality of the 'you'," and the belief that every human has these abilities, that is, the "universality of the 'they'." Together they constitute an anthropology based on sociality, which insures the compatibility of human autonomy with social existence, shared values, and the stability of the self. He associates this "type" with a politics which provides the institutional structure for the exercise of these abilities. This latter point, the compatibility of humanism with democratic political structures, is the subtext running through the book. Humanism is, for Todorov, the modern family most compatible with democracy, just as democracy is the political institution most able to retain the positive aspects of human autonomy (pp. 29–32). This is his defense of humanism, subjected, as it currently is, to challenges which suggest the devil is trying to collect on the debt.Todorov argues his case by taking up each of the "losses" supposedly suffered when the moderns asserted the autonomy of human will. If the strength and value of his book are Todorov's close readings of his representative authors—readings rich in insights for the educated generalist, however much scholars of individual authors may differ with particular interpretations—ultimately his defense of humanism's ability to "have it all" is far less satisfying.The first price to be paid for the autonomy of the will is the social world, the fall... (shrink)

After giving some contextual information, we propose an analysis of music and meaning in the song “The Garden,” as performed by the rock group Einstürzende Neubauten in the official video from the 1996 release of the album Ende Neu. We present a semiotic blending model of the narrative content of the song and of its imagery, partly determined by the structure and character of the music. Finally, we add a view of the apocalyptic perspective of some comparable creations.

This work is not a specific assessment of Utility of Religion by John Stuart Mill, but a defence of what I think is a utilitarian, but not millian, view on the problem that work states, the question of the utility of religion in contemporary societies. I construct that view from neohumeanism more than from millian positions, notwithstanding, I postulate that view as a genuine utilitarian one. -/- Every cultural tradition makes a different approach to ethical and political theories. Spanish (...) and Ibero-American utilitarians make precisely it with Classical Utilitarianism. -/- From that point of view, Ibero-American people identifies utilitarianism with radical and enlightened tradition linked with the reform that through XVIIIth and XIXth centuries tried to undermine the foundations of conservative society in our nations. -/- This aim was not achieved, at least not completely; because of that, the pursuit of Utilitarianism remains opened between us. In the end, I will argue that Spanish and Ibero-American utilitarians connect utilitarianism with philosophical and political radicalism, and inside that Hispanic utilitarianism, plays an important role the criticism of social and political functions of Religion. -/- Maybe, part of the future of Utilitarianism in our cultural context depends on a return of the Theory to its radical roots, also in religious subjects. (shrink)

The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and show (...) that, far from forcing a 'picture-like' stereotype on nature, the picturesque guided the way for a new appreciation of wildness—one that resonates with contemporary environmental philosophy. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Genesis 2–3 is among the most beloved yet misunderstood texts in the Hebrew Bible. Many biblical and post-biblical interpretations focus on themes of sin, death, and God’s banishment of Adam and Eve from the Garden of Eden. These have fostered misapprehensions regarding the value of God’s creation and the dangerous image of an “Old Testament God of wrath.” This essay uses space-critical analysis to focus on the spaces of Eden—from ground to bodies to gardens—to show that Ivan (...) Illich’s notion of “conviviality” best captures Eden’s true ethic of cooperation, environmental caretaking, and the positive portrait a gentle God who makes humans by hand. (shrink)