The paper investigates to what extent the method of cases can be interpreted as either a descriptive or a normative enterprise. I demonstrate that although most instances of the method of cases in most philosophical theories could be interpreted as being intended to either discover or revise the meaning of their target concepts, within a theory of reference this method cannot be used to shift the meaning of the concept of reference. The reason for this is (...) that intuitions of extension in a theory of reference constitute a set of data that needs to be explained, while in most other philosophical theories they could either be abandoned in favor of intuitions of intension or serve as a criterion for the adequacy of the proposed definition of the target concept. This feature of a theory of reference is caused by the fact that an implicit understanding of what reference is in a theory of reference is usually assumed and is out of discussion. In effect, the claim in paradigmatic instances of the method of cases within a theory of reference does not concern whether an expression does or does not refer in particular cases, but rather what the reference of a certain expression is, and therefore it cannot be justified by intuitions of intension. (shrink)

Unlike conceptual analysis, conceptual engineering does not aim to identify the content that our current concepts do have, but the content which these concepts should have. For this method to show the results that its practitioners typically aim for, being able to change meanings seems to be a crucial presupposition. However, certain branches of semantic externalism raise doubts about whether this presupposition can be met. To the extent that meanings are determined by external factors such as (...) causal histories or microphysical structures, it seems that they cannot be changed intentionally. This paper gives an extended discussion of this ‘externalist challenge’. Pace Herman Cappelen’s recent take on this issue, it argues that the viability of conceptual engineering crucially depends on our ability to bring about meaning change. Furthermore, it argues that, contrary to first appearance, causal theories of reference do allow for a sufficient degree of meaning control. To this purpose, it argues that there is a sense of what is called ‘collective long-range control’, and that popular versions of the causal theory of reference imply that people have this kind of control over meanings. (shrink)

Using the example of recent attempts to engineer the concept of conspiracy theory, I argue that philosophers should be far more circumspect in their approach to conceptual engineering than we have been – in particular, that we should pay much closer attention to the history behind and context that surrounds our target concept in order to determine whether it is a site of what I have elsewhere called ‘conceptual domination’. If it is, we may well have good (...) reason to avoid engineering. In their recent ‘What is a Conspiracy Theory?’, M. Giulia Napolitano and Kevin Reuter argue that the disagreement between generalists and particularists in the literature on conspiracy theories is best characterized as a set of dueling conceptual engineering projects. While I agree with their turn to this metaphilosophical literature, I give a very different account of its applicability. Particularists, on my account, are better read as aiming to diagnose the ways in which many discussions of the concept of conspiracy theories are a form of conceptual domination, where this broader context should then prompt us to abandon or block any concept of conspiracy theory that treats its referents as inherently defective. Broader metaphilosophical lessons are drawn. (shrink)

This article offers an account and defence of constructionism, both as a metaphilosophical approach and as a philosophical methodology, with references to the so-called maker's knowledge tradition. Its main thesis is that Plato's “user's knowledge” tradition should be complemented, if not replaced, by a constructionist approach to philosophical problems in general and to knowledge in particular. Epistemic agents know something when they are able to build (reproduce, simulate, model, construct, etc.) that something and plug the obtained information into the correct (...) network of relations that account for it. Their epistemic expertise increases with the scope and depth of the questions that they are able to ask and answer. Thus, constructionism deprioritises mimetic, passive, and declarative knowledge that something is the case, in favour of poietic, interactive, and practical knowledge of something being the case. Metaphilosophically, constructionism suggests adding conceptual engineering to conceptual analysis as a fundamental method. (shrink)

The theory of concepts advanced in the dissertation aims at accounting for a) how a concept makes successful practice possible, and b) how a scientific concept can be subject to rational change in the course of history. Traditional accounts in the philosophy of science have usually studied concepts in terms only of their reference; their concern is to establish a stability of reference in order to address the incommensurability problem. My discussion, in contrast, suggests that each scientific concept (...) consists of three components of content: 1) reference, 2) inferential role, and 3) the epistemic goal pursued with the concept's use. I argue that in the course of history a concept can change in any of these three components, and that change in one component—including change of reference—can be accounted for as being rational relative to other components, in particular a concept's epistemic goal.This semantic framework is applied to two cases from the history of biology: the homology concept as used in 19th and 20th century biology, and the gene concept as used in different parts of the 20th century. The homology case study argues that the advent of Darwinian evolutionary theory, despite introducing a new definition of homology, did not bring about a new homology concept (distinct from the pre-Darwinian concept) in the 19th century. Nowadays, however, distinct homology concepts are used in systematics/evolutionary biology, in evolutionary developmental biology, and in molecular biology. The emergence of these different homology concepts is explained as occurring in a rational fashion. The gene case study argues that conceptual progress occurred with the transition from the classical to the molecular gene concept, despite a change in reference. In the last two decades, change occurred internal to the molecular gene concept, so that nowadays this concept's usage and reference varies from context to context. I argue that this situation emerged rationally and that the current variation in usage and reference is conducive to biological practice.The dissertation uses ideas and methodological tools from the philosophy of mind and language, the philosophy of science, the history of science, and the psychology of concepts. (shrink)

The theory of concepts advanced in the dissertation aims at accounting for a) how a concept makes successful practice possible, and b) how a scientific concept can be subject to rational change in the course of history. Traditional accounts in the philosophy of science have usually studied concepts in terms only of their reference; their concern is to establish a stability of reference in order to address the incommensurability problem. My discussion, in contrast, suggests that each scientific concept (...) consists of three components of content: 1) reference, 2) inferential role, and 3) the epistemic goal pursued with the concept's use. I argue that in the course of history a concept can change in any of these three components, and that change in one component—including change of reference—can be accounted for as being rational relative to other components, in particular a concept's epistemic goal. This semantic framework is applied to two cases from the history of biology: the homology concept as used in 19th and 20th century biology, and the gene concept as used in different parts of the 20th century. The homology case study argues that the advent of Darwinian evolutionary theory, despite introducing a new definition of homology, did not bring about a new homology concept (distinct from the pre-Darwinian concept) in the 19th century. Nowadays, however, distinct homology concepts are used in systematics/evolutionary biology, in evolutionary developmental biology, and in molecular biology. The emergence of these different homology concepts is explained as occurring in a rational fashion. The gene case study argues that conceptual progress occurred with the transition from the classical to the molecular gene concept, despite a change in reference. In the last two decades, change occurred internal to the molecular gene concept, so that nowadays this concept's usage and reference varies from context to context. I argue that this situation emerged rationally and that the current variation in usage and reference is conducive to biological practice. The dissertation uses ideas and methodological tools from the philosophy of mind and language, the philosophy of science, the history of science, and the psychology of concepts. (shrink)

In recent years there has been a boom in the study of the Yi Jing (the Book of Changes) and ancient Chinese forms of physical exercise in European countries such as Germany, Belgium and France, with research themes focusing on psychotherapeutic and medical clinical experimental studies, such as a study conducted at the Institute of Psychology at the University of Tübingen in Germany that emphasised that moderate general physiological activation, exercise-dependent regulation of the heart rhythm ANS can induce a typical (...) state of calm to regulate Qi. There are few theoretical studies on the metaphysical aspects of the existence of such healthful and beneficial underlying psychophysiological mechanisms of mind-body exercise Florens（2021）, so this paper chooses to use the practice of Qi as a case study, where Qi practice refers to the classical and systematic use in Chinese martial arts’ internal styles and systems such as Taijiquan (Taichi), Qigong and shaolinquan(Shaolin Boxing). A primarily documentary research approach is adopted, this paper using classical theories from the Yi Jing to analyse a metaphysical analysis of the physical exercises associated with Qi. The conclusions of the study show that: Firstly, Chinese traditional methods and practical experience can be drawn upon. Secondly, the classical theory of the Yi Jing, which uses Qi as the core of practice, enriches the ontology of human life perception in the field of philosophy. Thirdly, the ultimate pursuit of life through the practice of Qi is a concrete manifestation of the metaphysical holistic view of life in traditional Chinese physical exercises. (shrink)

This paper offers a novel way of reconstructing conceptual change in empirical theories. Changes occur in terms of the structure of the dimensions—that is to say, the conceptual spaces—underlying the conceptual framework within which a given theory is formulated. Five types of changes are identified: (1) addition or deletion of special laws, (2) change in scale or metric, (3) change in the importance of dimensions, (4) change in the separability of dimensions, and (...) (5) addition or deletion of dimensions. Given this classification, the conceptual development of empirical theories becomes more gradual and rationalizable. Only the most extreme type—replacement of dimensions—comes close to a revolution. The five types are exemplified and applied in a case study on the development within physics from the original Newtonian mechanics to special relativity theory. (shrink)

Conceptual engineering means to provide a method to assess and improve our concepts working as cognitive devices. But conceptual engineering still lacks an account of what concepts are (as cognitive devices) and of what engineering is (in the case of cognition). And without such prior understanding of its subject matter, or so it is claimed here, conceptual engineering is bound to remain useless, merely operating as a piecemeal approach, with no overall grip on its target domain. (...) The purpose of this programmatic paper is to overcome this knowledge gap by providing some guidelines for developing the theories of concepts and of cognition that will ground the systematic unified framework needed to effectively implement conceptual engineering as a widely applicable method for the cognitive optimization of our conceptual devices. (shrink)

There is a line of reasoning in metaepistemology that is congenial to naturalism and hard to resist, yet ultimately misguided: that knowledge might be a natural kind, and that this would undermine the use of conceptual analysis in the theory of knowledge. In this paper, I first bring out various problems with Hilary Kornblith’s argument from the causal–explanatory indispensability of knowledge to the natural kindhood of knowledge. I then criticize the argument from the natural kindhood of knowledge against (...) the method of conceptual analysis in the theory of knowledge. A natural motivation for this argument is the following seemingly plausible principle: if knowledge is a natural kind, then the concept of knowledge is a natural kind concept. Since this principle lacks adequate support, the crucial semantic claim that the concept of knowledge is a natural kind concept must be defended in some more direct way. However, there are two striking epistemic disanalogies between the concept of knowledge and paradigmatic natural kind concepts that militate against this semantic claim. Conceptual analyses of knowledge are not affected by total error, and the proponents of such analyses are not subject to a priori conceptual obliviousness. I conclude that the argument from natural kindhood does not succeed in undermining the use of conceptual analysis in the theory of knowledge. (shrink)

Conceptual engineers have made hay over the differences of their metaphilosophy from those of conceptual analysts. In this article, I argue that the differences are not as great as conceptual engineers have, perhaps rhetorically, made them seem. That is, conceptual analysts asking ‘What is X?’ questions can do much the same work that conceptual engineers can do with ‘What is X for?’ questions, at least if conceptual analysts self-understand their activity as a revisionary enterprise. (...) I show this with a study of Russell's metaphilosophy, which was just such a revisionary conception of conceptual analysis. (shrink)

Conceptual engineering is now a central topic in contemporary philosophy. Just 4-5 years ago it wasn’t. People were then engaged in the engineering of various philosophical concepts (in various sub-disciplines), but typically not self-consciously so. Qua philosophical method, conceptual engineering was under-explored, often ignored, and poorly understood. In my lifetime, I have never seen interest in a philosophical topic grow with such explosive intensity. The sociology behind this is fascinating and no doubt immensely complex (and an excellent (...) case study for those interested in the dynamics of academic disciplines). That topic, however, will have to wait for another occasion. Suffice it to say that if Fixing Language (FL) contributed even a little bit to this change of focus in philosophical methodology, it would have achieved one of its central goals. In that connection, it is encouraging that the papers in this symposium are in fundamental agreement about the significance and centrality of conceptual engineering to philosophy. That said, the goal of FL was not only to advocate for a topic, but also to defend a particular approach to it: The Austerity Framework. These replies have helped me see clearer the limitations of that view and points where my presentation was suboptimal. The responses below are in part a reconstruction of what I had in mind while writing the book and in part an effort to ameliorate. I’m grateful to the symposiasts for helping me get a better grip on these very hard issues. (shrink)

In this paper I distinguish three kinds of kinds: traditional philosophical kinds such as truth, knowledge, and causation; natural science kinds such as spin, charge and mass; and social kinds such as class, poverty, and marriage. The three-fold taxonomy I work with represents an idealised abstraction from the wide variety of kinds that there are and the messy phenomena that underlie them. However, the kinds I identify are discrete, and the three-fold taxonomy is useful when it comes to understanding claims (...) about the normativity, scope, and implementation of conceptual engineering. In particular it reveals: first, that conceptual engineering in a broad sense is not distinctively normative; but second, that there is a distinctive normativity present in conceptual engineering in the narrow sense of amelioration; third, that conceptual engineering in the narrow sense of amelioration is only possible for terms that refer to kinds whose grounds we can change; and fourth, that the amelioration of such kind terms can be brought about as a result of changing the grounds of those kinds. The overall aim is to draw attention to the differences between kinds of kinds to make sense of the diverse and often conflicting claims in the conceptual engineering literature, both from its proponents and from its detractors. The hope is that paying attention to the differences between kinds of kinds will provide a better understanding of the landscape. (shrink)

A philosopher argues that state-sponsored cyberattacks against central military or civilian targets are always acts of war. What is this philosopher doing? According to conceptual analysts, the philosopher is making a claim about our concept of war. According to philosophical realists, the philosopher is making a claim about war per se. In a quickly developing literature, a third option is being explored: the philosopher is engineering the concept of war. On this view, the philosopher is making a proposal about (...) which concept we should have – even if it deviates from the extant concept, and even if it does not capture ‘what war really is’. The activity or method of proposing such revisionary definitions, as well as the metaphilosophical reflection on it, has become known as conceptual engineering. (shrink)

In On the Genealogy of Color , Zed Adams challenges widely held philosophical views about the nature of color, exploring the relevance of the history of color science for contemporary debates in color realism/anti-realism and philosophy of mind. Adams argues that the two sides of the contemporary debate on the problem of color realism, Cartesian anti-realism and Oxford realism, are both predicated on an assumption that the concept of color perception is ahistorical and unrevisable. Adams takes issue with this premise (...) and traces the development of theories of color in order to undermine this assumption and open up the conversation about our perception of color. This book makes a significant contribution to recent debates on philosophical methodology by demonstrating the efficacy of using the genealogical method to explore philosophical concepts, and will appeal to philosophers of perception, philosophers of mind, and metaphysicians. (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)

Conceptual engineers aim to revise rather than describe our concepts. But what are concepts? And how does one engineer them? Answering these questions is of central importance for implementing and theorizing about conceptual engineering. This paper discusses and criticizes two influential views of this issue: semanticism, according to which conceptual engineers aim to change linguistic meanings, and psychologism, according to which conceptual engineers aim to change psychological structures. I argue that neither of these accounts (...) can give us the full story. Instead, I propose and defend the Dual Content View of Conceptual Engineering. On this view, conceptual engineering targets concepts, where concepts are understood as having two kinds of contents: referential content and cognitive content. I show that this view is independently plausible and that it gives us a comprehensive account of conceptual engineering that helps to make progress on some of the most difficult problems surrounding conceptual engineering. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means (...) of subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Given the current popularization of computer programming and the trends of informatization and digitization, colleges have actively responded by making programming lessons compulsory for students of all disciplines. However, students from different ethnic groups often have different learning responses to such lessons due to their respective cultural backgrounds, the environment in which they grew up, and their consideration for future employment. In this study, an AI-assisted programming module was developed and used to compare the differences between multi-ethnic college students in (...) terms of their theoretical and actual learning expectancy, motivation, and effectiveness. The module conducted analysis through the deep learning network and examined the relevant processes that the students underwent during programming lessons, as well as the types of errors they had committed. Their learning motivation for and actual learning performance in programming were then examined based on the cognitive learning theory. The results of the experiment, which involved 96 multi-ethnic college students, indicated that the two groups had dissimilar theoretical performance in terms of their expectancy and motivation for learning programming. The indigenous students’ main concern was whether programming would affect their families or tribes, and this concern affected and was reflected in their learning outcomes. In contrast, the learning motivation and goals of Han Chinese students were driven by the cognition of the value of programming to themselves. The research findings can contribute toward the cognition and understanding of multi-ethnic students when learning computer programming and development of the appropriate teaching methods, and serve as a reference for subsequent research on integrating multiculturalism into computer programming lessons. (shrink)

What exactly does conceptual analysis consist in? Is it empirical or a priori? How does it support philosophical theses? and What kinds of thesis are these? There is no consensus on these questions in contemporary philosophy. This study aims to defend conceptual analysis by showing that it comprises a number of different methods and by explaining their importance in philosophy. After setting out an initial dilemma for conceptual analysis, the study outlines a minimal ecumenical account of concepts, (...) as well as an account of concept possession and concept employment. On the basis of these accounts, the study then argues that there are both empirical and a priori forms of conceptual analysis, and that each can be defended as legitimate methods. The philosophical interest of conceptual analysis, however, resides in relying on all three types of method in the service of answering philosophical concerns. This is illustrated by three sample cases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Theory of Bioethics by David DeGrazia and Joseph MillumColin Hoy (bio) and Winston Chiong (bio)Review of David DeGrazia and Joseph Millum, A Theory of Bioethics (Cambridge University Press, 2021)David DeGrazia and Joseph Millum’s A Theory of Bioethics 2021 arrives at a curious time for an ambitious effort at systematic theory construction, seemingly out of step with bioethical fashion. At the same time, a (...) prominent group of philosophical bioethicists authored an article, possibly with a touch of defensiveness, to “make the case that philosophy and philosophers still have a very important and meaningful role to play in contemporary bioethics” (Blumenthal-Barby et al. 2021). Meanwhile, the annual meeting of the American Society for Bioethics and Humanities included several expressions of impatience with the historical privileging of philosophy over more empirical, situated, and community-oriented approaches to moral problems in health.DeGrazia and Millum’s work itself reflects the current state of bioethics and how it has changed since the heyday of grand bioethical theory construction in the late twentieth century. To apply Parfit’s philosophical taxonomy (1984), the general frameworks promulgated by theorists like Veatch, Engelhardt, and Gert, as well as Beauchamp and Childress, were by necessity revisionary. These bioethical theories were whole-cloth alternatives to a conventional and paternalistic medical ethos that was already widely acknowledged as unsatisfactory. Today, however, bioethics is a mature and institutionalized field, with well-established practices and a corpus of accepted tenets (alongside matters of ongoing but generally demarcated controversy). A plausible and fruitful contemporary theory of bioethics must be largely descriptive, in Parfit’s sense, providing an intellectual framework that gives coherence and sense to existing practice, while at the same time clarifying matters of confusion.In contemporary bioethics, a central component of this practice is the application of the four principles of biomedical ethics—non-maleficence, beneficence, justice and autonomy—not merely as originally proposed by Beauchamp and Childress (2019), but in their refined form, following decades of exchange, critique, and revision. DeGrazia and Millum’s theory begins with two core values: well-being and respect for rights holders. [End Page 321] The bulk of the book then applies the method of reflective equilibrium to specify these two values in terms of the canonical four principles, here treated as “mid-level” constructs with readier application to specific cases than the two core values. Experienced bioethicists may have an uncanny sense of setting off from a new trailhead, and yet, eventually finding themselves still walking a familiar path. However, this way of introducing and explicating the four principles will likely be more accessible to a wider audience, including high-level undergraduates and graduate students not already versed in the revisions, refinements, and compromises embedded in Beauchamp and Childress’s discussions.Two other features recommend this book as a resource for trainees and interested non-experts seeking to deepen their understanding of bioethics. First, the clarity of its style and organizational approach provides a welcome orientation for non-specialists. The chapters are structured so that major contending perspectives are outlined before the authors develop arguments for their own positions in that context. Each chapter proceeds by considering applications of the broader theory, showing how it can illuminate potential candidate approaches or policies, as well as demonstrating how to use the tools of ethical analysis to evaluate these proposals in both ideal and non-ideal cases. This didactic approach to the relationship between conceptual argument and practice will be accessible to many who are initially unfamiliar with or intimidated by theory. Second the commendable decision to make the book electronically available and accessible also has the potential to broaden the reach of the work, and in particular, to engage parties in under-resourced settings, which have so often been overlooked in bioethical discourse.As noted above, while the authors’ approach is descriptive in Parfit’s sense, it is not necessarily conservative. In many places, the authors highlight how their theory includes elements or renders conclusions that are not broadly accepted, and following the method of reflective equilibrium, they advocate for these positions both in terms of broad principles and particular judgments about cases. This begins with their dual-value... (shrink)

The paper discusses reference determination from the point of view of conceptual change in science. The first part of the discussion uses the homology concept, a natural kind term from biology, as an example. It is argued that the causal theory of reference gives an incomplete account of reference determination even in the case of natural kind terms. Moreover, even if descriptions of the referent are taken into account, this does not yield a satisfactory account of reference (...) in the case of the homology concept. I suggest that in addition to the factors that standard theories of reference invoke the scientific use of concepts and the epistemic interests pursued with concepts are important factors in determining the reference of scientific concepts. In the second part, I argue for a moderate holism about reference determination according to which the set of conditions that determine the reference of a concept is relatively open and different conditions may be reference fixing depending on the context in which this concept is used. It is also suggested that which features are reference determining in a particular case may depend on the philosophical interests that underlie reference ascription and the study of conceptual change. (shrink)

This book offers an integrated historical and philosophical examination of the origin of genetics. The author contends that an integrated HPS analysis helps us to have a better understanding of the history of genetics, and sheds light on some general issues in the philosophy of science. This book consists of three parts. It begins with historical problems, revisiting the significance of the work of Mendel, de Vries, and Weldon. Then it turns to integrated HPS problems, developing an exemplar-based analysis of (...) the development and the progress in early genetics. Finally, it discusses philosophical problems: conceptual change, evidence, and theory choice. Part I lays out a new historiography, serving as a basis for the discussions in part II and part III. Part II introduces a new integrated HPS method to analyse and interpret the historiography in Part I and to re-examine the philosophical issues in Part III. Part III develops new philosophical accounts which will in turn make a better sense of the history of scientific practice more generally. This book provides a practical defence of integrated HPS: the best way to defend integrated HPS is to do it. (shrink)

Traditional views on philosophical methodology characterize our primary philosophical goal as production of a successful conceptual analysis. The notion of conceptual analysis, however, faces several challenges—from experimental philosophy to more traditional worries such as the paradox of analysis. This paper explores an alternate approach, commonly called conceptual engineering, which aims at recommending conceptual revisions. An important question for the conceptual engineer is as follows: what counts as a case of successful conceptual engineering? What sorts (...) of revisions are permitted, and what sorts are too revisionary? In this paper I examine ‘functional’ approaches to conceptual engineering, ultimately arguing for a ‘radical’ functionalism according to which even revisions which ‘change the subject’ are permitted, and successful re-engineering is constrained only by the requirement that continuity in needed functions of a pre-engineering concept be maintained somewhere in the postengineering conceptual scheme. I further argue that this approach suggests a heightened role, in metaphilosophical discourse, for a neglected epistemic goal—conceptual efficacy. (shrink)

Conceptual engineering is the method (or methods) via which we can assess and improve our concepts. Can conceptual engineering be usefully employed within analytic theology? Given that analytic theology and analytic philosophy effectively share the same philosophical toolkit then if conceptual engineering works well in philosophy then it ought to work well in analytic theology too. This will be our working hypothesis. To make good on this hypothesis, we first address two challenges. The first challenge makes (...) conceptual engineering look to be too inclusive; the second challenge makes it look to be too revolutionary (for analytic theology). To address these challenges, we propose a refined characterisation of conceptual engineering. We then turn to consider a number of case studies where analytic theology and conceptual engineering may fruitfully cooperate. These are: theological disagreements, inter-faith dialogue, meaning change, celibacy, AI, the name of God, and conceptual genealogy. (shrink)

The first mentions of “social engineering” and “social technologies” concepts started from the 19th century. Until the present moment, different lines of this story have been left neglected and insufficiently researched. In the article, initial meanings and authentic contexts of their usage are explained in more details. The investigation reaches the 1920s−1930s and is finished at the intersection of the Soviet and the American contexts concerned with scientific organization of labor, business optimization and economic planning. In conclusion, recent modifications of (...) social engineering are briefly characterized. They are connected with development of information technologies and automation of smart cities. The research appeals toward histories of scientific management in North America and Western Europe, its industrial roots and unexplained foundations. Meanwhile, it is philosophically substantial due to conceptual analysis and explication of presuppositions of our thinking in respect of society and ways of changing social reality. After Sir Karl Popper, social engineering has been associated with the Soviet methods of planning and centralized governance. However, one can be assured that until now this concept has evolved by different, alternative trajectories within the context of industrial modernization of Europe and America. Within post-industrial world, the vision of social engineering has been enriched by IT-analogies, and social practice is interpreted in light of organizational, cultural, mental, or historical algorithms, which are the subject of purposeful manipulation and modification. (shrink)

Conceptual engineering is the method for assessing and improving our concepts. Some have recently claimed that the implementation of such method in the form of ameliorative projects is truth-driven and should thus be epistemically constrained, ultimately at least (Simion 2018; cf. Podosky 2018). This paper challenges that claim on the assumption of a social constructionist analysis of ideologies, and provides an alternative, pragmatic and cognitive framework for determining the legitimacy of ameliorative conceptual projects overall. The upshot (...) is that one should not ameliorate for the sake of truth or knowledge, in the case of ideologies—at least, not primarily. (shrink)

This paper argues for two conclusions: (1) evaluating the success of engineered concepts necessarily involves empirical work; and (2) the Carnapian Explication criterion precision ought to be a methodological standard in conceptual engineering. These two conclusions provide a new analysis of the race and gender debate between Sally Haslanger and Jennifer Saul. Specifically, the argument identifies the resources Haslanger needs to respond to Saul’s main objections. Lastly, I contrast the methodology advocated here with the so-called “method of cases” (...) and draw out some general implications for how we should think about concepts. (shrink)

The CRISPR-Cas systems of bacterial and archaeal adaptive immunity have become a household name among biologists and even the general public thanks to the unprecedented success of the new generation of genome editing tools utilizing Cas proteins. However, the fundamental biological features of CRISPR-Cas are of no lesser interest and have major impacts on our understanding of the evolution of antivirus defense, host-parasite coevolution, self versus non-self discrimination and mechanisms of adaptation. CRISPR-Cas systems present the best known case in point (...) for Lamarckian evolution, i.e. generation of heritable, adaptive genomic changes in response to encounters with external factors, in this case, foreign nucleic acids. CRISPR-Cas systems employ multiple mechanisms of self versus non-self discrimination but, as is the case with immune systems in general, are nevertheless costly because autoimmunity cannot be eliminated completely. In addition to the autoimmunity, the fitness cost of CRISPR-Cas systems appears to be determined by their inhibitory effect on horizontal gene transfer, curtailing evolutionary innovation. Hence the dynamic evolution of CRISPR-Cas loci that are frequently lost and acquired by archaea and bacteria. Another fundamental biological feature of CRISPR-Cas is its intimate connection with programmed cell death and dormancy induction in microbes. In this and, possibly, other immune systems, active immune response appears to be coupled to a different form of defense, namely, “altruistic” shutdown of cellular functions resulting in protection of neighboring cells. Finally, analysis of the evolutionary connections of Cas proteins reveals multiple contributions of mobile genetic elements to the origin of various components of CRISPR-Cas systems, furthermore, different biological systems that function by genome manipulation appear to have evolved convergently from unrelated MGE. The shared features of adaptive defense systems and MGE, namely the ability to recognize and cleave unique sites in genomes, make them ideal candidates for genome editing and engineering tools. (shrink)

This paper argues for two conclusions: (1) evaluating the success of engineered concepts necessarily involves empirical work; and (2) the Carnapian Explication criterion precision ought to be a methodological standard in conceptual engineering. These two conclusions provide a new analysis of the race and gender debate between Sally Haslanger and Jennifer Saul. Specifically, the argument identifies the resources Haslanger needs to respond to Saul’s main objections. Lastly, I contrast the methodology advocated here with the so-called “method of cases” (...) and draw out some general implications for how we should think about concepts. (shrink)

Early in his career and in critical engagement with ordinary language philosophy, John Mackie developed the roots of a methodology that would be fundamental to his thinking: Mackie argues that we need to clearly separate the conceptual analysis which determines the meaning of an ordinary term and the factual analysis which is concerned with the question what, if anything, our language corresponds to in the world. I discuss how Mackie came to develop this distinction and how central ideas of (...) his philosophy are based on it. Using the examples of Mackie’s moral skepticism and his work on Locke’s theory of perception I show how his methodology opens the door to error theories but can also support more positive claims. Finally, I put Mackie’s methodology in a historical perspective and argue that in cases like the Gettier debate, we can use it to cast light on the vagueness of the underlying methodology in some philosophical debates. (shrink)

Background In a previous paper in Philos Ethics Humanit Med, the 1937 Swedish novel Sömnlös (Swedish for sleepless) by Vilhelm Moberg was used as background for a thought experiment, in which last century’s progresses concerning the safety of sleeping pills were projected into the future. This gave rise to a theoretical discussion about broad medico-philosophical questions such as (among other things) the concept of pharmaceuticalisation. Methods In this follow-up paper, the theme of insomnia in Sömnlös is complemented by a discussion (...) of the concept of nostalgia. The core of the paper is a theoretical discussion about the benefits and risks of nostalgia, bringing together some aspects of recent psychological research about the construct of nostalgia with the main story line of the novel. Results and Conclusion Nostalgia is portrayed as being, in some sense at least, ultimately beneficial for the protagonist of Sömnlös. This is congruent with recent psychological research. However, the story also shows that nostalgia may lead to problematic behaviours, at least when viewed from a virtue ethics perspective. Hence, nostalgia is both what leads the protagonist into ethically problematic behaviour and that which (paradoxically) ultimately saves him from his initial lack of courage, justice, temperance and practical wisdom. Moreover, the protagonist does not only “grow” ethically but also existentially. Hence, the novel opens up the possibility that insomnia and nostalgia might be viewed as bearers of important existential information (cf. sociologist of religion Peter L. Berger and his concept of “signals of transcendence”). (shrink)

Slurs are derogatory words; they seem to express contempt and hatred toward marginalized groups. They are used to insult and derogate their victims. Moreover, slurs give rise to philosophical questions. In virtue of what is the word “chink,” unlike “Chinese,” a derogatory word? Does “chink” refer to the same group as “Chinese”? If “chink” is a derogatory word, how is it possible to use it in a non-derogatory way (e.g., by Chinese comedians or between Chinese friends)? Many theories of slurs (...) answer these questions by assuming that slurs communicate derogatory messages. However, little attention has been paid to the speech acts slurs are used to perform. In this dissertation, I argue that slurs are illocutionary force indicators: words to perform the speech acts of derogation. “Chink” is a derogatory word because its use is to derogate the Chinese, just like the phrase “I promise” has the use to make a promise. To derogate the Chinese is to enforce a norm which assigns to them an inferior normative status. Slurs are also propositional indicators: words that contribute to the truth-conditions. “Chink” has the same referent as “Chinese,” its neutral counterpart. Appealing to speech act theory enables my theory to answer questions about slurs, e.g., slurs can be used in non-derogatory ways because the felicity conditions of derogation are not met. To illustrate the advantage of my theory, I will explain how other theories of slurs fall short because they take positions opposite to mine on certain issues. For instance, Mark Richard’s theory, unlike mine, takes utterances of slurs to have no truth values. It follows from his theory, I will argue, that lying with “Chang is a chink” is impossible. Finally, I will defend the force indicator theory from common objections. My force indicator theory provides a case study of the use theory of meaning and a framework for political philosophers to study the harm of slurs. (shrink)

This thesis focuses on models of conceptual change in science and philosophy. In particular, I developed a new bootstrapping methodology for studying conceptual change, centered around the formalization of several popular models of conceptual change and the collective assessment of their improved formal versions via nine evaluative dimensions. Among the models of conceptual change treated in the thesis are Carnap’s explication, Lakatos’ concept-stretching, Toulmin’s conceptual populations, Waismann’s open texture, Mark Wilson’s patches (...) and facades, Sneed’s structuralism, and Paul Thagard’s conceptual revolutions. -/- In order to analyze and compare the conception of conceptual change provided by these different models, I rely on several historical reconstructions of episodes of scientific conceptual change. The historical episodes of scientific change that figure in this work include the emergence of the morphological concept of fish in biological taxonomies, the development of scientific conceptions of temperature, the Church-Turing thesis and related axiomatizations of effective calculability, the history of the concept of polyhedron in 17th and 18th century mathematics, Hamilton’s invention of the quaternions, the history of the pre-abstract group concepts in 18th and 19th century mathematics, the expansion of Newtonian mechanics to viscous fluids forces phenomena, and the chemical revolution. I will also present five different formal and informal improvements of four specific models of conceptual change. I will first present two different improvements of Carnapian explication, a formal and an informal one. My informal improvement of Carnapian explication will consist of a more fine-grained version of the procedure that adds an intermediate, third step to the two steps of Carnapian explication. I will show how this novel three-step version of explication is more suitable than its traditional two-step relative to handle complex cases of explications. My second, formal improvement of Carnapian explication will be a full explication of the concept of explication itself within the theory of conceptual spaces. By virtue of this formal improvement, the whole procedure of explication together with its application procedures and its pragmatic desiderata will be reconceptualized as a precise procedure involving topological and geometrical constraints inside the theory of conceptual spaces. My third improved model of conceptual change will consist of a formal explication of Darwinian models of conceptual change that will make vast use of Godfrey-Smith’s population-based Darwinism for targeting explicitly mathematical conceptual change. My fourth improvement will be dedicated instead to Wilson’s indeterminate model of conceptual change. I will show how Wilson’s very informal framework can be explicated within a modified version of the structuralist model-theoretic reconstructions of scientific theories. Finally, the fifth improved model of conceptual change will be a belief-revision-like logical framework that reconstructs Thagard’s model of conceptual revolution as specific revision and contraction operations that work on conceptual structures. -/- At the end of this work, a general conception of conceptual change in science and philosophy emerges, thanks to the combined action of the three layers of my methodology. This conception takes conceptual change to be a multi-faceted phenomenon centered around the dynamics of groups of concepts. According to this conception, concepts are best reconstructed as plastic and inter-subjective entities equipped with a non-trivial internal structure and subject to a certain degree of localized holism. Furthermore, conceptual dynamics can be judged from a weakly normative perspective, bound to be dependent on shared values and goals. Conceptual change is then best understood, according to this conception, as a ubiquitous phenomenon underlying all of our intellectual activities, from science to ordinary linguistic practices. As such, conceptual change does not pose any particular problem to value-laden notions of scientific progress, objectivity, and realism. At the same time, this conception prompts all our concept-driven intellectual activities, including philosophical and metaphilosophical reflections, to take into serious consideration the phenomenon of conceptual change. An important consequence of this conception, and of the analysis that generated it, is in fact that an adequate understanding of the dynamics of philosophical concepts is a prerequisite for analytic philosophy to develop a realistic and non-idealized depiction of itself and its activities. (shrink)

This article outlines how conceptual spaces theory applies to modeling changes of scientific frameworks when these are treated as spatial structures rather than as linguistic entities. The theory is briefly introduced and five types of changes are presented. It is then contrasted with Michael Friedman’s neo-Kantian account that seeks to render Kuhn’s “paradigm shift” as a communicatively rational historical event of conceptual development in the sciences. Like Friedman, we refer to the transition from Newtonian to relativistic (...) mechanics as an example of “deep conceptual change.” But we take the communicative rationality of radical conceptual change to be available prior to the philosophical meta-paradigms that Friedman deems indispensable for this purpose. (shrink)

I analyse conceptual change and conceptual engineering in the special case of colour concepts. The case raises the prospects of conceptual engineering because a precise standard for measuring the amelioration of the structure of concepts is available. On the other hand, the study highlights the problems with controlling conceptual engineering pointed out by Cappelen. I argue that in the case of conceptual change of colour concepts varying degrees of optimization, design and control are (...) possible. I submit that this observation can be generalized to other classes of concepts. As a result, the scope of conceptual engineering is reduced considerably; conceptual engineering appears as a limit case of conceptual change. (shrink)

The concept of a public energy field is central to public administration discourse theory. Its main idea is the facilitation of dialog between government and the public, on the basis of equality, to construct a public policy consensus. In contemporary society, social media provides new and distinctive channels for such interactions. Social media can, therefore, be conceived as a novel type of public energy field. Since the outbreak of the COVID-19 pandemic, interactions between the Chinese government and the Chinese (...) public have been acutely reflected through WeChat official accounts. This article focuses on the COVID-19 pandemic and, through social media text mining and processing, analyzes the text topics and emotions covered. Basic principles of discourse validity, regarding this public energy field and two guarantee conditions, are applied to analyze the information exchange and dialog between the government and the public on COVID-19 through WeChat official accounts. It was found that the government’s WeChat official accounts have not yet formed a harmonious dialog space to balance the public energy field, and that the interaction between the government and the public has to be improved. The government’s social discourse had a significant influence on the public’s social discourse. Using text analysis, the study found that the government has published information on 11 topics related to the prevention and control of the pandemic. It can be argued that the public energy field presented by both the government and the public effectively portrayed and reflected the actual situation of the pandemic in China. (shrink)

This article provides a spatial analysis of the conceptual framework of fluid dynamics during the nineteenth century, focusing on the transition from the Euler equation to the Navier–Stokes equation. A dynamic version of Peter Gärdenfors's theory of conceptual spaces is applied which distinguishes changes of five types: addition and deletion of special laws; change of metric; change in importance; change in separability; addition and deletion of dimensions. The case instantiates all types but the deletion (...) of dimensions. We also provide a new view upon limiting case reduction at the conceptual level that clarifies the relation between the predecessor and successor conceptual framework. The nineteenth-century development of fluid dynamics is argued to be an instance of normal science development. (shrink)

This work explores the conceptual and empirical issues of the concept of knowledge and its relation to the pattern of our belief change, from formal and experimental perspectives. Part I gives an analysis of knowledge (called Sustainability) that is formally represented and naturalistically plausible at the same time, which is claimed to be a synthesized view of knowledge, covering not only empirical knowledge, but also knowledge of future, practical knowledge, mathematical knowledge, knowledge of general facts. Part II tries (...) to formalize the natural pattern of belief change assumed in Sustainability in terms of a specific formal theory of belief change, after carefully examining the notions of belief, belief change, and Information, from which the cognitive function F in Chapter 3 is actually constructed, which is later implemented by a computer program and its behavior against random input is demonstrated. In Part III we proceed to examine the analysis empirically. In particular, we will investigate Sustainability from the developmental point of view. We first justify experimental approach in philosophy as a legitimate method of philosophical investigation, and then developmental approach in particular. The specific proposal of experiment here is what we call the Gettier Task, an analogue of the famous false-belief task in developmental psychology, which has been much discussed in philosophy of mind. Two versions of the Gettier Task were tested on children aged from 6 to 12, and we claim that the data obtained empirically supports our analysis of knowledge, or Sustainability. (shrink)

A comprehensible model is proposed aimed at an analysis of the reasons for theory change in science. According to the model the origins of scientific revolutions lie not in a clash of fundamental theories with facts, but of “old” fundamental theories with each other, leading to contradictions that can only be eliminated in a more general theory. The model is illustrated with reference to physics in the early 20th century, the three “old” theories in this case being (...) Maxwellian electrodynamics, statistical mechanics and thermodynamics. Modern example, referring to general relativity and quantum field theory fusion, is highlighted. Key words: Popper, Kuhn, Lakatos, Feyerabend, Stepin, Bransky,Mamchur, mature theory, structure, Einstein, Lorentz, , Boltzmann, Planck, Hawking, De Witt. (shrink)

The existing computer technology is used to conduct an in-depth study and analysis of drilling waste treatment, and the results are analyzed by computer simulation optimization algorithms. Based on the system theory, we define the research system, combine the unique characteristics of the technological innovation mechanism of drilling waste treatment, and use the internal and external factors affecting the technological innovation dynamics of drilling waste treatment, such as drilling waste treatment capacity, from the current actual situation. On this basis, (...) factor analysis is used to analyze the factors affecting technological innovation dynamics from both internal and external aspects of the system, establish a system model of technological innovation dynamics of drilling waste disposal, and give the initial values of the simulation model. This will reduce the pollution of the environment and enhance the competitiveness of enterprises. Drilling waste treatment technology is getting increased attention, but at this stage, there is no suitable technology innovation mechanism for drilling waste treatment. Through the simulation trend chart obtained by sensitivity analysis, the key factors in the system are found, and the innovation power mechanism of drilling waste treatment technology is constructed, which provides a basis for the formulation of enterprise technological innovation strategies and the development of technological innovation activities. Research on the dynamic mechanism of drilling waste treatment technology innovation explores a waste treatment mechanism suitable for the drilling industry, so as to promote the steady development of the drilling industry and at the same time provide theoretical support for the treatment of drilling engineering waste. (shrink)

Historians often feel that standard philosophical doctrines about the nature and development of science are not adequate for representing the real history of science. However, when philosophers of science fail to make sense of certain historical events, it is also possible that there is something wrong with the standard historical descriptions of those events, precluding any sensible explanation. If so, philosophical failure can be useful as a guide for improving historiography, and this constitutes a significant mode of productive interaction between (...) the history and the philosophy of science. I illustrate this methodological claim through the case of the Chemical Revolution. I argue that no standard philosophical theory of scientific method can explain why European chemists made a sudden and nearly unanimous switch of allegiance from the phlogiston theory to Lavoisier's theory. A careful re-examination of the history reveals that the shift was neither so quick nor so unanimous as imagined even by many historians. In closing I offer brief reflections on how best to explain the general drift toward Lavoisier's theory that did take place. (shrink)

The Handbook of Computational Social Science is a comprehensive reference source for scholars across multiple disciplines. It outlines key debates in the field, showcasing novel statistical modeling and machine learning methods, and draws from specific case studies to demonstrate the opportunities and challenges in CSS approaches. The Handbook is divided into two volumes written by outstanding, internationally renowned scholars in the field. This first volume focuses on the scope of computational social science, ethics, and case studies. It covers a range (...) of key issues, including open science, formal modeling, and the social and behavioral sciences. This volume explores major debates, introduces digital trace data, reviews the changing survey landscape, and presents novel examples of computational social science research on sensing social interaction, social robots, bots, sentiment, manipulation, and extremism in social media. The volume not only makes major contributions to the consolidation of this growing research field, but also encourages growth into new directions. With its broad coverage of perspectives (theoretical, methodological, computational), international scope, and interdisciplinary approach, this important resource is integral reading for advanced undergraduates, postgraduates and researchers engaging with computational methods across the social sciences, as well as those within the scientific and engineering sectors. (shrink)

Some philosophers and historians of science have suggested that the meanings of scientific terms change in the course of the history of science in such a way that the comparison of successive theories becomes impossible. This claim of "incommensurability", usually associated with Thomas Kuhn and Paul Feyerabend, has attracted attention for its relativist and anti-rationalist implications. It would seem to make the choice between two theories into a random affair, not one of direct comparison. ;The principal attempts to defeat (...) this claim are based either on Saul Kripke and Hilary Putnam's causal theory of reference, first proposed as an account of the reference of proper names, or on Donald Davidson's general argument that all languages are inter-translatable. However, the former is inappropriate as a reply to incommensurability and the latter must be modified before it can serve as a procedure for theory-comparison. After looking at these two replies in detail, the dissertation proposes a method for comparing theories. ;Davidson's argument against incommensurability is adapted so that his interpretive method can serve as the basis of a procedure for comparing scientific theories. Certain constraints on interpretation are spelt out in order to arrive at a unique way of isolating the agreements and disagreements among theories. The main attraction of the interpretive approach is that it consists of a descriptional account of meaning which is also holistic. That is to say, it identifies a term from one theory with a term from another on the basis of the overlap between the two theories, but without relying on the analytic-synthetic distinction. ;A number of case studies are used to demonstrate how theories can be compared and their concepts matched up. One of the consequences of this approach is that transitivity in the translation of concepts will generally break down. But that does not force an anti-realist position in the philosophy of science. To justify this claim, a discussion of scientific taxonomy is undertaken and criticisms are made of the essentialist conception of natural kinds. (shrink)

There is substantial evidence that traditional instructional methods have not been successful in helping students to restructure their commonsense conceptions and learn the conceptual structures of scientific theories. This paper argues that the nature of the changes and the kinds of reasoning required in a major conceptual restructuring of a representation of a domain are fundamentally the same in the discovery and in the learning processes. Understanding conceptual change as it occurs in science and in learning (...) science will require the development of a common cognitive model of conceptual change. The historical construction of an inertial representation of motion is examined and the potential instructional implications of the case are explored. (shrink)

The COVID-19 pandemic has had a significant impact on education worldwide. The disease first hit China and numerous Chinese cities then started to conduct online courses. Therefore, this study aims to explore the effect of the Shanghai students’ emotional intelligence, learning motivation, and self-efficacy on their academic achievement when they participated in online English classes during the latter phase of the pandemic in China. Furthermore, the research also examines whether the students’ emotional intelligence can influence their academic achievement through the (...) mediation effect of their learning motivation and self-efficacy. Social Cognitive Theory and the social cognitive Expectancy-Value Model were employed to build the research framework, and the method of structural equation modeling was utilized to conduct the model verification. Ten universities in Shanghai, China were selected for sampling. In total, 450 students were surveyed of which 404 questionnaires were valid. The results show that the students’ emotional intelligence did not directly affect their academic achievement. Nevertheless, the students’ emotional intelligence had a positive effect on their learning motivation and self-efficacy. In addition, mediation analysis showed that the relation between emotional intelligence and academic achievement was sequentially mediated by learning motivation and self-efficacy. (shrink)

The present paper discusses Kitcher’s framework for studying conceptual change and progress. Kitcher’s core notion of reference potential is hard to apply to concrete cases. In addition, an account of conceptual change as change in reference potential misses some important aspects of conceptual change and conceptual progress. I propose an alternative framework that focuses on the inferences and explanations supported by scientific concepts. The application of my approach to the history of the (...) gene concept offers a better account of the conceptual progress that occurred in the transition from the Mendelian to the molecular gene than Kitcher’s theory. (shrink)

This essay is a logico?philosophical critique of the Marxian system of sociology with special reference to the theory of social change. To every change in the natural order (taken in conjunction with the technological order) corresponds an appropriate change in the human order, that is, in the system of social relations. This, it is shown, is the fundamental Marxian thesis regarding social equilibrium. And accordingly the key idea regarding social change is that a gradually maturing (...) inherent disproportion between the two orders is the basic condition of social change, eventually leading to the establishment of a new social equilibrium at a higher level. A close examination of the concept of mode of production and changes therein is attempted in the course of elucidating the above thesis. It is argued that the technological interpretation of the concept of mode of production conflicts with the Marxian anthropology and that we should have a structural interpretation according to which it will refer to the economy as a whole and will include among other elements production relations. This interpretation leads the discussion into one of the central problems of Marxism, namely, the relation between the mode of production and the social system. It is argued that the social system is basic to Marx and after a close analysis of the concept of system it is shown that the Marxian theory of base and superstructure rests mainly on confusion of conceptual orientations. This, it is shown, is connected with a fundamental idea of Marxism, viz., that of a system without a transcendent centre. This essay endeavours to prove that such an idea is logically untenable. Hence the Marxian Laws of Transformation of Quantity into Quality and Negation of Negation are examined and shown logically untenable. The last section discusses the question about the determinant of technological change and eventually of social change. Three possible Marxian solutions are examined: (a) in terms of needs ? it is argued that this is inconsistent with Marx's theory of man and labour; (b) in terms of science and new ideas ? it is shown that this ultimately goes contrary to Marxian materialism and positivism; and finally, (c) the systemic solution in terms of the dialectic of nature and man is subjected to logical scrutiny and it is shown that this cannot be consistent and valid without involving a trans?historical standpoint; for, it is argued, the idea of the self?directing Humanity on which it rests is a self?contradictory notion. (shrink)

This thesis consists in six articles and a comprehensive summary. • The pourpose of the summary is to introduce the AGM theory of belief change and to exemplify the diversity and significance of the research that has been inspired by the AGM article in the last 25 years. The research areas associated with AGM was divided in three parts: criticisms, where we discussed some of the more common criticisms of AGM. Extensions where the most common extensions and variations (...) of AGM are presented and applications where we provided an overview of applications and connections with other areas of research. • Article I elaborates on the connection between partial meet contractions [AGM85] and kernel contractions [Han94a] in belief change theory. Also both functions are equivalent in belief sets, there are notequivalent in belief bases. A way to define incision functions from selection functions and vice versa is presented. It is explained under which conditions there are exact correspondences between selection and incision functions so that the same contraction operations can be obtained by using either of them. • Article II proposes an axiomatic characterization for ensconcement-based contraction functions, belief base functions proposed byWilliams and relates this function with other kinds of base contraction functions. • Article III adapts the Fermé and Hansson model of Shielded Contraction [FH01] as well as Hansson et all Credibility-Limited Revision [HFCF01] for belief bases, to join two of the many variations of the AGM model [AGM85], i.e. those in which knowledge is represented through belief bases instead of logic theories, and those in which the object of the epistemic change does not get the priority over the existing information as it is the case in the AGM model. • Article IV introduces revision by comparison a refined method for changing beliefs by specifying constraints on the relative plausibility of propositions. Like the earlier belief revision models, the method proposed is a qualitative one, in the sense that no numbers are needed in order to specify the posterior plausibility of the new information. The method uses reference beliefs in order to determine the degree of entrenchment of the newly accepted piece of information. Two kinds of semantics for this idea are proposed and a logical characterization of the new model is given. • Article V focuses on the extension of AGM that allows change for a belief base by a set of sentences instead of a single sentence. In [FH94], Fuhrmann and Hansson presented an axiomatic for Multiple Contraction and a construction based on the AGM Partial Meet Contraction. This essay proposes for their model another way to construct functions: Multiple Kernel Contraction, that is a modification of Kernel Contraction,proposed by Hansson [Han94a] to construct classical AGM contractions and belief base contractions. • Article VI relates AGM model with the DFT model proposed by Carlos Alchourrón [Alc93]. Alchourrón devoted his last years to the analysis of the notion of defeasible conditionalization. His definition of the defeasible conditional is given in terms of strict implication operator and a modal operator f which is interpreted as a revision function at the language level. This essay points out that this underlying revision function is more general than AGM revision. In addition, a complete characterization of that more general kind of revision that permits to unify models of revision given by other authors is given. (shrink)