"These notes are about the process of design: the process of inventing things which display new physical order, organization, form, in response to function." This book, opening with these words, presents an entirely new theory of the process of design. In the first part of the book, Christopher Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process (...) will be successful only if it proceeds piecemeal instead of all at once. It is for this reason that forms from traditional un-self-conscious cultures, molded not by designers but by the slow pattern of changes within tradition, are so beautifully organized and adapted. When the designer, in our own self-conscious culture, is called on to create a form that is adapted to its context he is unsuccessful, because the preconceived categories out of which he builds his picture of the problem do not correspond to the inherent components of the problem, and therefore lead only to the arbitrariness, willfulness, and lack of understanding which plague the design of modern buildings and modern cities. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct. The mathematics underlying this method, based mainly on set theory, is fully developed in a long appendix. Another appendix demonstrates the application of the method to the design of an Indian village. (shrink)

Hayden White probes the notion of authority in art and literature and examines the problems of meaning - its production, distribution, and consumption - in different historical epochs. In the end, he suggests, the only meaning that history can have is the kind that a narrative imagination gives to it. The secret of the process by which consciousness invests history with meaning resides in the content of the form, in the way our narrative capacities transforms the present into a (...) fulfillment of a past from which we would wish to have desceneded. (shrink)

What is a thing? What is an object? Tristan Garcia decisively overturns 100 years of Heideggerian orthodoxy about the supposedly derivative nature of objects to put forward a new theory of ontology that gives us deep insights into the world and our place in it."e.

Autism is often taken to be a specific kind of mind. The dominant neuro‐cognitivist approach explains this via static processing traits framed in terms of hyper‐systemising and hypo‐empathising. By contrast, Wittgenstein‐inspired commentators argue that the coherence of autism arises relationally, from intersubjective disruption that hinders access to a shared world of linguistic meaning. This paper argues that both camps are unduly reductionistic and conflict with emerging evidence, due in part to unjustifiably assuming a deficit‐based framing of autism. It then develops (...) a new Wittgensteinian account—autism as a different form of life—which avoids these issues. Rather than autistic systemising being the basis of autistic cognition, it is taken to be a reaction to pre‐epistemic and semantic anxieties that come with developing as a minority within a different form of life. This re‐framing can provide a coherent account of the autistic mind, and has significant conceptual, practical, and ethical implications. (shrink)

Probes the nature of linguistic or symbolic action as it relates to specific novels, plays, and poems.

Probes the nature of linguistic or symbolic action as it relates to specific novels, plays, and poems.

A Logical Form (LF) is a syntactic structure that is interpreted by the semantic component. For a particular structure to be a possible LF it has to be possible for syntax to generate it and for semantics to interpret it. The study of LF must therefore take into account both assumptions about syntax and about semantics, and since there is much disagreement in both areas, disagreements on LF have been plentiful. This makes the task of writing a survey article (...) in the field fairly difficult, a difficulty that is amplified by the amount of material that needs to be covered if the result is going to be in any way representative. My response to this difficulty is to limit my objectives. As a start, I will confine myself to issues relating to the syntactic positions of Quantificational Noun Phrases (QNPs) at LF and to various interpretive consequences. But even within these relatively narrow confines, I will not attempt anything close to a comprehensive survey. Instead my goal will be restricted to the presentation of one leading idea and to the discussion of some evidence that might bear on it.1 Much research on the nature of LF has consisted in attempts to account for the meaning of sentences containing QNPs. (shrink)

Von einem Leben der Freiheit zu sprechen hat eine doppelte Bedeutung. Auf der einen Seite legt diese Wendung nahe, dass schon dem Leben das Merkmal der Freiheit zukommt. Zum anderen deutet der Ausdruck darauf hin, dass die Freiheit ein ihr eigenes Leben besitzen mag. In diesem doppelten Genitiv wird so ein Übergang angedeutet von der Freiheit, die dem Leben als solchem zukommt, zu dem eigenen Leben, das die Freiheit führt. Inwiefern aber ist schon das Leben frei und inwiefern besitzt auch (...) die Freiheit immer noch ein Leben? Warum mag es unserem Verständnis der Freiheit und des Lebens dienen, ihren inneren Zusammenhang zu begreifen? Und in welchem Sinne genau sind Leben und Freiheit aufeinander zu beziehen? -/- Die folgenden Überlegungen werden drei aufeinander bezogene Weisen erläutern, in denen Freiheit und Leben in einem wesentlichen Zusammenhang stehen: (1) Freiheit ist ein Vermögen, das sich nur in lebenden Wesen herausbilden kann. (2) Um die Form der Freiheit zu verstehen, müssen wir die Form des Lebens verstehen. (3) Um die Wirklichkeit der Freiheit zu begreifen, müssen wir verstehen, inwiefern die Freiheit ein Leben eigener Art gewinnt. In diesem Sinne sind wir auf den Lebensbegriff verwiesen, um die Genese, die Form und die Wirklichkeit der Freiheit zu verstehen. Um diese drei Gedanken zu entwickeln, wendet sich dieses Buch zwei Autoren zu, die zwar als Philosophen der Freiheit geläufig sind, wohl aber kaum als »Lebensphilosophen« gelten können: Kant und Hegel. (shrink)

Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the Critique of Judgment as of the two earlier Critiques. Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate “beautiful” indicates that (...) something has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation (Darstellung) in what Kant refers to as “mere form,” which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the Critique of Judgment—such as disinterestedness, free play, the sublime, genius, and beautiful arts—are examined by the author and shown in a new light. (shrink)

Mark Eli Kalderon presents an original study of perception, taking as its starting point a puzzle in Empedocles' theory of vision: if perception is a mode of material assimilation, how can we perceive colors at a distance? Kalderon argues that the theory of perception offered by Aristotle in answer to the puzzle is both attractive and defensible.

Far from overthrowing or stepping outside that tradition, Wittgenstein builds on it, draws from it, and contributes brilliantly to the fruition of certain elements in it. In This Complicated Form of Life, Garver analyzes from several angles Wittgenstein's relationship to Kant, and to what Finch has called Wittgenstein's completion of Kant's revolt against the Cartesian hegemony of epistemology in philosophy.

Tom Eyers contrasts the different “movements” of the novel and the lyric poem: while moments of stasis in the novel are swept up in its narrative trajectory, atemporal moments in poetry can be juxtaposed against other kinds of temporality — for Eyers’s purposes, most importantly the temporalities of politics and history. The Theory of the Novelbecomes a theory of the lyric, undoing the persistent belief that history can only be made to appear in narrative.

Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the _Critique of Judgment_ as of the two earlier _Critiques_. Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate "beautiful" indicates that (...) something has minimal form and is cognizable. This book explores this concept of form, in particular the role of presentation in what Kant refers to as "mere form," which involves not only the understanding, but also reason as the faculty of ideas. Such a notion of form reveals why the beautiful can be related to the morally good. On the basis of this reinterpreted concept of form, most major concepts and themes of the _Critique of Judgment_—such as disinterestedness, free play, the sublime, genius, and beautiful arts—are examined by the author and shown in a new light. (shrink)

A good metaphysical account of logical form, must make clear why logical form is logical. However, this task has proved to be very elusive. Here, I analyze different attempts to meet this challenge and defend an inferential externalism where logical form is grounded on external logical relations as our most promising option.

Philosophers today have largely given up on the project of categorizing being. Aristotle’s ten categories now strike us as quaint, and no attempt to improve on that effort meets with much interest. Still, no one supposes that reality is smoothly distributed over space. The world at large comes in chunks, and there remains a widespread intuition, even among philosophers, that some of these chunks have a special sort of unity and persistence. These, we tend to suppose, are most truly agents (...) and subjects, and are what exist in the most proper sense of the term. We believe, in other words, in substances. (shrink)

L.A. Paul has argued that an ordinary, natural way of making a decision -- by reflecting on the phenomenal character of the experiences one will have as a result of that decision -- cannot yield rational decision in certain cases. Paul's argument turns on the (in principle) epistemically inaccessible phenomenal character of certain experiences. In this paper I argue that, even granting Paul a range of assumptions, her argument doesn't work to establish its conclusion. This is because, as I argue, (...) the phenomenal character of an experience supervenes on epistemically accessible facts about its non-phenomenal character plus what the deciding agent is like. Because there are principles that link the non-phenomenal character of experiences (together with what a particular agent is like) to the phenomenal character of experiences, agents can reasonably form expectations about the valence of the phenomenal character of the experiences that they are deciding whether to undergo. These reasonable expectations are, I argue, enough to make the ordinary, natural way of making a decision yield rational decision. (shrink)

Educational Research is commonly regarded as a rational pursuit aimed at the production of objective knowledge. Researchers are expected to avoid value bias by detaching themselves from the normative conceptions of education that shape practice in schools and classrooms, and by casting themselves in the role of the impartial spectator. It is assumed that, as a rational pursuit, educational research is not directly concerned with changing practice but simply with discovering facts about it.This paper claims that it is possible to (...) construct a view of educational research as a form of rational and disciplined inquiry that does not depend on any underpinning spectator theory of knowledge. Nor, the paper claims, does it imply any underpinning foundational principles of rational action and choice. Rather it implies a form of disciplined conversation in which reasons for action are scrutinised, critiqued and modified without resort to foundational principles of rationality. Drawing particularly on the work of John Dewey, Richard Rorty and Amartya Sen, the paper casts educational research as a practical science—a form of action research—that is underpinned by a democratic conception of rationality. In doing so, it contrasts educational research, shaped by a pragmatic theory of knowledge, with research on education that is shaped by a spectator theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.4 (2006) 599-622 MuseSearchJournalsThis JournalContents[Access article in PDF]The Purposiveness of Form: A Reading of Kant's Aesthetic FormalismRachel ZuckertIn the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting and most easily criticized claims about aesthetic experience. Detractors hold (...) up his aesthetics as a paradigmatic case of narrow formalism; 1 and even many admirers of Kant's aesthetics take Kant's claims about form to be problematic, but argue that they are inessential to his aesthetics (which includes more interesting, defensible claims). 2 Though these critics come to differing evaluations of Kant's aesthetics as a whole, they agree on two points. First, interpretively: that when Kant claims that it is the "form" of an object we find beautiful, he means that in aesthetic appreciation, we find certain spatial and/or temporal properties (such as proportion, line, shape) aesthetically pleasing—and that such properties are exclusively responsible for an object's beauty. Second, evaluatively: that Kant is wrong, at least about this.In this paper, I shall propose that we need not endorse either claim. I shall argue that one may interpret Kant's formalism as a claim that in aesthetic experience 3 [End Page 599] we appreciate the object as an individual, as comprising all (or indeterminately many) of its sensible properties as inextricably interrelated or unified to make the object what it is; in other words, we appreciate what has been called an object's 'individual form.' This reading, I shall suggest, allows us not only to understand Kant's aesthetics as intimately connected to his project in the Critique of Judgment (hereafter, CJ) as a whole, but also to see Kant's aesthetics, in general, as providing a richer, more plausible description of our aesthetic engagement with an object, or as less narrowly subjectivist than is frequently believed.I shall proceed by presenting Kant's claims about form, and the standard criticisms thereof, and then turn to defend this alternative reading. Before I do so, however, I wish to make some preliminary remarks about aesthetic formalism in general. Contemporary discussion of formalism often takes aesthetic formalism to be instantiated by the views of the twentieth-century art critics, Clive Bell and Roger Fry, 4 and Kant's formalism is often implicitly equated with theirs (or the kind of position attributed to them). I wish to resist that equation in this essay; to that end, I start here by giving a wider sense of what formalism might be, drawing especially on historical positions that were available to Kant. 5Broadly speaking, "formalism" is the view that, in aesthetic appreciation of an object (usually a work of art), we do and ought to pay attention not to the object's representational content, emotional expressiveness, historical, institutional, or social context (whether conditions for the production of the object or its effects), but only to its form. Formalism is characterized in some sense, then, by what it excludes, viz. considerations taken to be external to the object. But it does specify positively (if vaguely) that the form of an object is what makes it beautiful. 6'Form,' however, can mean a number of different things, all of which (in some sense) are the design or arrangement of an object's parts, often of its sensible properties. I wish to draw attention to three somewhat distinct ways in which one may understand such form or arrangement of properties, which I shall call 'property-formalism,' 'kind-formalism,' and 'whole-formalism.' Property-formalism is the view that the form of an object can be described in terms of a set of specific spatial or temporal properties that characterize the relations that hold among different parts of the object, and that these properties are responsible for the beauty of the object. Hogarth's view that the serpentine line is the most beautiful line, responsible... (shrink)

This book explores the idea that all of logic can be reduced to two very simple rules that are sensitive to logical polarity. The authors show that this idea has profound consequences for our understanding of the nature of human inferential capacities, and for some of the key issues in contemporary linguistics.

Educational Research is commonly regarded as a rational pursuit aimed at the production of objective knowledge. Researchers are expected to avoid value bias by detaching themselves from the normative conceptions of education that shape practice in schools and classrooms, and by casting themselves in the role of the impartial spectator. It is assumed that, as a rational pursuit, educational research is not directly concerned with changing practice but simply with discovering facts about it.This paper claims that it is possible to (...) construct a view of educational research as a form of rational and disciplined inquiry that does not depend on any underpinning spectator theory of knowledge. Nor, the paper claims, does it imply any underpinning foundational principles of rational action and choice. Rather it implies a form of disciplined conversation in which reasons for action are scrutinised, critiqued and modified without resort to foundational principles of rationality. Drawing particularly on the work of John Dewey, Richard Rorty and Amartya Sen, the paper casts educational research as a practical science—a form of action research—that is underpinned by a democratic conception of rationality. In doing so, it contrasts educational research, shaped by a pragmatic theory of knowledge, with research on education that is shaped by a spectator theory. (shrink)

Rachel Zuckert - The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 599-622 Muse Search Journals This Journal Contents The Purposiveness of Form: A Reading of Kant's Aesthetic Formalism Rachel Zuckert In the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of (...) his least interesting and most easily criticized claims about aesthetic experience. Detractors hold up his aesthetics as a paradigmatic case of narrow formalism; and even many admirers of Kant's aesthetics take Kant's claims about form to be problematic, but argue that they are inessential to his aesthetics . Though these critics come to differing evaluations of Kant's aesthetics as a whole, they agree on two points. First, interpretively: that when Kant claims that it is the "form" of an object we find beautiful, he means that in aesthetic appreciation, we find certain spatial and/or temporal properties aesthetically pleasing—and that such properties are exclusively responsible for an object's beauty. Second, evaluatively: that Kant is wrong, at least about this. In this paper, I shall propose that we need not endorse either claim. I shall argue that one may interpret Kant's.. (shrink)

Dieses Buch uber Freiheit und Form stellt Studien zur deutschen Geistesgeschichte dar und ist ein unveranderter, hochwertiger Nachdruck der Originalausgabe der zweiten Auflage aus dem Jahr 1918. Der Vero Verlag ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung, Wissenschaft und Technik, Reisen und Expeditionen, Kochen und Ernahrung, Medizin und weiteren Genres. Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur. Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitaten erhaltlich. Der Vero Verlag verlegt diese (...) Bucher neu und tragt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch fur die Zukunft bei.". (shrink)

What is a rule, if it appears to become confused with life? And what is a human life, if, in every one of its gestures, of its words, and of its silences, it cannot be distinguished from the rule? It is to these questions that Agamben's new book turns by means of an impassioned reading of the fascinating and massive phenomenon of Western monasticism from Pachomius to St. Francis. The book reconstructs in detail the life of the monks with their (...) obsessive attention to temporal articulation and to the Rule, to ascetic techniques and to liturgy. But Agamben's thesis is that the true novelty of monasticism lies not in the confusion between life and norm, but in the discovery of a new dimension, in which "life" as such, perhaps for the first time, is affirmed in its autonomy, and in which the claim of the "highest poverty" and "use" challenges the law in ways that we must still grapple with today. How can we think a form-of-life, that is, a human life released from the grip of law, and a use of bodies and of the world that never becomes an appropriation? How can we think life as something not subject to ownership but only for common use? (shrink)

This paper responds briefly to four reviews of Force and Freedom. Valentini and Sangiovanni criticize what they see as the excessive formalism of the Kantian enterprise, contending that the Kantian project is circular, because it defines rights and freedom together, and that this circularity renders it unable to say anything determinate about appropriate restrictions and permissions. I show that the appearance of circularity arises from a misconstrual of the Kantian idea of a right. Properly understood, Kantian rights are partially indeterminate, (...) but not in a way that causes problems for the account. Ronzoni and Williams seek to broaden the reach of public right, arguing that Kant's abstract approach overlooks pressing questions of social and political life, (Ronzoni) and that public right should allow for democratic deliberation about purposes that go beyond the requirement that a state provide a rightful condition for its members (Williams). I argue that the Kantian view makes room for these factors, but that each must be understood in relation to the formal constraints of right. (shrink)