Since Krebs and Davies’s (1978) landmark publication, it is acknowledged that behavioural ecology owes much to the ethological tradition in the study of animal behaviour. Although this assumption seems to be right—many of the first behavioural ecologists were trained in departments where ethology developed and matured—it still to be properly assessed. In this paper, I undertake to identify the approaches used by ethologists that contributed to behavioural ecology’s constitution as a field of inquiry. It is my contention that the current (...) practices in behavioural biology owe ethology something much subtler than the simple transposition of Tinbergen’s Four Problems for heuristic purposes. Demonstrating what ethology inherited from the long naturalist tradition shows the tensions that strained the field and that later led to the loss of both its unity and its specificity. It also allows for a precise delineating of what behavioural ecology picked up from the ethological practice, and it helps to cast some light on the introduction of economical thinking in behavioural sciences. (shrink)

Journal Name: Semiotica Issue: Ahead of print.

Recently, psychological phenomena have been expanded to new domains, crisscrossing boundaries of organizational levels, with the emergence of areas such as social personality and ecosystem learning. In this contribution, we analyze the ascription of an individual-based concept (personality) to the social level. Although justified boundary crossings can boost new approaches and applications, the indiscriminate misuse of concepts refrains the growth of scientific areas. The concept of social personality is based mainly on the detection of repeated group differences across a population, (...) in a direct transposition of personality concepts from the individual to the social level. We show that this direct transposition is problematic for avowing the nonsensical ascription of personality even to simple electronic devices. To go beyond a metaphoric use of social personality, we apply the organizational approach to a review of social insect communication networks. Our conceptual analysis shows that socially self-organized systems, such as isolated ant trails and bee’s recruitment groups, are too simple to have social personality. The situation is more nuanced when measuring the collective choice between nest sites or foraging patches: some species show positive and negative feedbacks between two or more self-organized social structures so that these co-dependent structures are inter-related by second-order, social information systems, complying with a formal requirement for having social personality: the social closure of constraints. Other requirements include the decoupling between individual and social dynamics, and the self-regulation of collective decision processes. Social personality results to be sometimes a metaphorical transposition of a psychological concept to a social phenomenon. The application of this organizational approach to cases of learning ecosystems, or evolutionary learning, could help to ground theoretically the ascription of psychological properties to levels of analysis beyond the individual, up to meta-populations or ecological communities. (shrink)

The relationship between empathy, understood here as a cognitive act of imaginative transposition, and reasons, has been discussed extensively by Stueber :156–180, 2011; Emot Rev 4:55–63, 2012; in: Maibom The Routledge handbook of philosophy of empathy, Routledge, New York, pp 137–147, 2017). Stueber situates his account of empathy as the reenactment of another person’s perspective within a framework of folk psychology as guided by a principle of rational agency. We argue that this view, which we call agential empathy, is not (...) satisfying for two main reasons that we will examine consecutively. First, agential empathy cannot satisfactorily account for the case of emotional actions, which requires to take into account the phenomenal dimension of the mental states they stem from. We argue that Stueber overlooks this aspect, which is not reducible to understanding the reasons behind an agent’s behavior. We introduce the notions of experiential empathy and phenomenal insight to account for the imagined representation of the subjectively felt dimension of the target’s experience. Second, in virtue of his restrictive view of empathy, Stueber partly misconstrues this process: action explanation is not all there is to say about empathy. We argue that we have to go beyond the scope of agential empathy to do justice to the epistemic richness of empathy. Experiential empathy can in principle be available independently from reasons explanations: the main epistemic achievement of empathy can be indeed a matter of phenomenal insight only. (shrink)

The relationship between empathy, understood here as a cognitive act of imaginative transposition, and reasons, has been discussed extensively by Stueber :156–180, 2011; Emot Rev 4:55–63, 2012; in: Maibom The Routledge handbook of philosophy of empathy, Routledge, New York, pp 137–147, 2017). Stueber situates his account of empathy as the reenactment of another person’s perspective within a framework of folk psychology as guided by a principle of rational agency. We argue that this view, which we call agential empathy, is not (...) satisfying for two main reasons that we will examine consecutively. First, agential empathy cannot satisfactorily account for the case of emotional actions, which requires to take into account the phenomenal dimension of the mental states they stem from. We argue that Stueber overlooks this aspect, which is not reducible to understanding the reasons behind an agent’s behavior. We introduce the notions of experiential empathy and phenomenal insight to account for the imagined representation of the subjectively felt dimension of the target’s experience. Second, in virtue of his restrictive view of empathy, Stueber partly misconstrues this process: action explanation is not all there is to say about empathy. We argue that we have to go beyond the scope of agential empathy to do justice to the epistemic richness of empathy. Experiential empathy can in principle be available independently from reasons explanations: the main epistemic achievement of empathy can be indeed a matter of phenomenal insight only. (shrink)

The relationship between empathy, understood here as a cognitive act of imaginative transposition, and reasons, has been discussed extensively by Stueber :156–180, 2011; Emot Rev 4:55–63, 2012; in: Maibom The Routledge handbook of philosophy of empathy, Routledge, New York, pp 137–147, 2017). Stueber situates his account of empathy as the reenactment of another person’s perspective within a framework of folk psychology as guided by a principle of rational agency. We argue that this view, which we call agential empathy, is not (...) satisfying for two main reasons that we will examine consecutively. First, agential empathy cannot satisfactorily account for the case of emotional actions, which requires to take into account the phenomenal dimension of the mental states they stem from. We argue that Stueber overlooks this aspect, which is not reducible to understanding the reasons behind an agent’s behavior. We introduce the notions of experiential empathy and phenomenal insight to account for the imagined representation of the subjectively felt dimension of the target’s experience. Second, in virtue of his restrictive view of empathy, Stueber partly misconstrues this process: action explanation is not all there is to say about empathy. We argue that we have to go beyond the scope of agential empathy to do justice to the epistemic richness of empathy. Experiential empathy can in principle be available independently from reasons explanations: the main epistemic achievement of empathy can be indeed a matter of phenomenal insight only. (shrink)

The relationship between empathy, understood here as a cognitive act of imaginative transposition, and reasons, has been discussed extensively by Stueber :156–180, 2011; Emot Rev 4:55–63, 2012; in: Maibom The Routledge handbook of philosophy of empathy, Routledge, New York, pp 137–147, 2017). Stueber situates his account of empathy as the reenactment of another person’s perspective within a framework of folk psychology as guided by a principle of rational agency. We argue that this view, which we call agential empathy, is not (...) satisfying for two main reasons that we will examine consecutively. First, agential empathy cannot satisfactorily account for the case of emotional actions, which requires to take into account the phenomenal dimension of the mental states they stem from. We argue that Stueber overlooks this aspect, which is not reducible to understanding the reasons behind an agent’s behavior. We introduce the notions of experiential empathy and phenomenal insight to account for the imagined representation of the subjectively felt dimension of the target’s experience. Second, in virtue of his restrictive view of empathy, Stueber partly misconstrues this process: action explanation is not all there is to say about empathy. We argue that we have to go beyond the scope of agential empathy to do justice to the epistemic richness of empathy. Experiential empathy can in principle be available independently from reasons explanations: the main epistemic achievement of empathy can be indeed a matter of phenomenal insight only. (shrink)

Heidegger argues that for being x to count as ‘alive’ it must satisfy three metaphysical conditions. It must be capable of engaging in active behaviour with a form of intentional directedness that offers to us a “sphere of transposition” into which we can intelligibly “transpose ourselves.” Heidegger’s discussion of these conditions, as they apply to the being of animals, is well-known. But, if his argument is sound, they ought also to apply to the being of plants. Heidegger, unfortunately, does not (...) supply this part of his ontology of life in any systematic detail. However, my thesis is that it is possible to interpret the nature and activities of plants, along the lines of –, and thus to make good on Heidegger’s omission. The key to this reconstruction is a reconceptualization of plant movements as constituted by a form of representationally blind, motor-intentionality. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This major new book offers a highly original account of ethical and political subjectivity in contemporary culture. It makes a strong case for a non-unitary or nomadic conception of the subject, in opposition to the claims of ideologies such as conservatism, liberal individualism and techno-capitalism. Braidotti takes a bold stand against moral universalism, while offering a vigorous defence of nomadic ethics against the charges of relativism and nihilism. She calls for a new form of ethical accountability that takes "Life" as (...) the subject, not the object, of enquiry. This ethics is presented as a fundamental reconfiguration of our being in the world and it calls for more conceptual creativity in the production of worldviews that can better enable us to behave ethically in a technologically and globally mediated world. The nomadic ethical subject negotiates successfully the complex tension between the multiplicity of political forces on the one hand and the sustained commitment to emancipatory politics on the other. _Transpositions_ provides an intellectually rich guide to the leading critical debates of our time and will be of great interest to scholars and students throughout the humanities and social sciences. (shrink)

Research is a process that leads to new insights rupturing the existent fabric of knowledge. To prevent this process from disintegrating, its coherence must be assured. Under the heading transposition, seventeen artists, musicians, and theorists explain how one thing may turn into another in a spatio-temporal play of identity and difference that has the power to expand into the unknown. While it does not attempt to define the still evolving field of artistic research, through the idea of transposition this book (...) aims to grasp a quality increasingly important to artistic practice because representational approaches have been losing traction. Taking to heart the lessons of deconstruction, new modes of epistemic relationships are being invented that include aesthetic dimensions. Working with materially concrete positions in a manner familiar to artists can ensure that knowledge does not decay into relativism. (shrink)

Kantian Transpositions presents an important new reading of Jacques Derrida’s writings on religion and ethics. Eddis Miller argues that Derrida’s late texts on religion constitute an interrogation of the meaning and possibility of a “philosophy of religion.” It is the first book to fully engage Derrida’s claim, in “Faith and Knowledge: The Two Sources of ‘Religion’ at the Limits of Reason Alone” to be transposing the Kantian gesture of thinking religion “within the limits of reason alone.” Miller outlines the terms (...) of this “transposition” and reads Derrida’s work as an attempt to enact such a transposition. Along the way, he stakes out new ground in the debate over deconstruction and ethics, showing—against recent interpretations of Derrida’s work—that there is an ethical moment in Derrida’s writings that cannot be understood properly without accounting for the decisive role played by Kant’s ethics. The result is the most sustained demonstration yet offered of Kant’s indispensible contribution to Derrida’s thought. (shrink)

We discuss, within the framework provided by a recently developed variational method, transposition-invariant field equations for unified field theories. Systems that are, in addition, invariant under Weyl-type gauge transformations or lambda transformations are derived. It is found that in a weak field limit two of the systems contain the equations of general relativity and the covariant Maxwell equations for a charge-free region.

We review and present a new meta‐analysis of research suggesting that ethicists in the United States appear to behave no morally better overall than do non‐ethicist professors. Measures include: returning library books, peer evaluation of overall moral behavior, voting participation, courteous and discourteous behavior at conferences, replying to student emails, paying conference registration fees and disciplinary society dues, staying in touch with one's mother, charitable giving, organ and blood donation, vegetarianism, and honesty in responding to survey questions. One (...) multi‐measure study found ethicists tending to embrace more stringent moral views, especially about meat eating and charitable donation. The same multi‐measure study found ethicists and other professors to show similarly small‐to‐medium correlations between their expressed normative attitudes and their self‐reported or directly measured behavior. (shrink)

For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, we are (...) exposed to the insight that “there is also nothingness.” The paper offers a series of transpositions, a series of ways of experiencing visibility and vision found in looking at specific images and paintings. The transpositions expose us to blindness, emptying, gaps, and loss in the happening of the visible, which, in displacing the certainty of rational subjective seeing/consciousness, lead to the quickening of vision and the visible anew. (shrink)

This article argues that two words in line 8.612 of the Aeneid, promissa and perfecta, have been transposed since the poem's composition, and that the restoration of their correct order yields a preferable sense. This corruption would have happened at an early stage in the poem's transmission, but there is some reason to believe that Servius’ comment on the verse reflects its original state.

This article is an exercise in the transposition of certain approaches in analytic philosophy to issues concerning business value and identity in business. We examine the notion of business value and several accounts of value that have been offered in the literature. Luciano Floridi’s formal logical account of a business is introduced and applied as a first step towards a logical framework of business value. Peter Peverelli has claimed that Chinese business identity is accounted for in terms of competitors, administration (...) levels, hierarchical structures, and those government agencies with jurisdiction over enterprises (viz. regulators). It is argued that this quadripartite method of identification cannot be fully generalized to all businesses in any geographical location since distinct businesses can exist which have the same competitors, administration levels, hierarchical structures, and governed by the same government agencies. In such a case the distinguishing features of the businesses are the job descriptions or duties of the employees. Hence job descriptions or duties play an important role in the identification of businesses. It turns out that the identification of business according to the job descriptions of employees has less in common with Peverelli's approach and more in common with Bang, Cleemann, and Drucker's notion of business value understood in terms of the technical and the social "as processes and as outputs of production”. (shrink)

After having been for some while the butt of conservative critics, verse transpositions in Propertius have, mainly thanks to the work of G. P. Goold, again become respectable among scholars. In his edition of Catullus, Tibullus, and Propertius J. J. Scaliger , the great archeget of the method, had subjected the other great elegist of Propertius’ generation to the same treatment,2 and in fact one of Scaliger's transpositions is supported by external evidence: 1.5.71–6 belong after 6.32; this is confirmed by (...) Ovid's imitation in Trist. 2.447ff. Trist. 2. 459–60 echo Tib. 1.6.31f. and 5.73 . That Ovid should have brought together in one distich verses from two different Tibullian poems may not seem wholly impossible, but much less likely than that the lines in Tibullus were also consecutive, in particular because the distich immediately preceding 459f. clearly refers to the situation of Tib. 1.6. (shrink)

Despite the burgeoning research in recent years on what is called analogical reasoning and transfer, the problem of how similarity or invariant relations are fundamentally accessed is typically either unrecognized, or ignored in componential and computational analyses. The access problematic is not a new one, being outlined by the paradox found in Plato’s Meno. In order to understand the analogical-access problematic, it is suggested that the concepts of analogical relations including the lexical concept metaphor, isomorphic relation in mathematics, homology in (...) biology, stimulus generalization in psychology, transfer of learning in education, and transposition phenomena in perception, be reconceptualized as subsets of a higher-order domain as all share the problem of how invariance relations are generated and accessed. A solution is suggested based on two specific evolutionary and neurological models, coupled with findings regarding the cognitive importance of knowledge-base. The paper constitutes a reciprocal complementarity analysis of a previous paper on metaphor. A higher-order form of analogical reasoning called analogical progression is introduced. Implications for research are discussed that indicate the need for a paradigm shift. The paper concludes with a four-stage model of analogical access. (shrink)

L’article examine la façon dont Hegel traite la représentation des attributs divins, avec référence particulière à deux questions traditionnelles : la question de leur compatibilité réciproque et le problème de l’univocité ou équivocité entre les prédicats humains et divins. Les hypothèses défendues sont les suivantes : la prétention de connaître Dieu en lui attribuant plusieurs prédicats constitue selon Hegel l’erreur fondamentale de la théologie rationnelle ; néanmoins, Hegel ne considère pas tous les attributs divins comme représentations dépourvues de noyau spéculatif (...) et donc simplement destinées à disparaître, avec le passage du niveau de la Représentation au niveau du Concept ; il affirme plutôt la correspondance des prédicats de toute-puissance, bonté, justice et sagesse, avec les déterminations du Concept ; la transposition spéculative de ces attributs divins est une partie intégrante de la « véritable théodicée » de Hegel, car elle représente une réplique – alternative à celle de Leibniz – par rapport à l’anti-théodicée de Pierre Bayle, centrée sur l’affirmation d’une contradiction insoluble entre la bonté, la toute-puissance et la justice divines ; enfin, l’éclaircissement du lien dialectique que Hegel établit entre justice et sagesse divines – à travers leur transposition spéculative – permet de mieux saisir la façon dont il conçoit le rapport entre justice humaine et justice divine, qui est ici examinée à travers une analyse de l’interprétation hégélienne du livre de Job. (shrink)

Higher plant nuclear genomes contain many families of dispersed repeats that change during evolution. Recent evidence from studies on genetically defined transposable elements raises the possibility that many of the dispersed repeats are remnants of such elements. Transposition of DNA has also occurred between mitochondria, chloroplasts and nuclei, a fact that underlines the major role played by DNA transposition in determining the structure of plant genomes.

In this lucid portrayal of human behavior, Fred Dretske provides an original account of the way reasons function in the causal explanation of behavior.

So far his weapons of defence are taken from a common armoury; but in the next verses he develops the argumentum ad hominem which was foreshadowed in ‘eques’ and ‘intra fortunam qui cupis esse tuam.’ Such promptings, says he, come strangely from Maecenas, whose own discreetness and self-repression will be famous in history, and whom he is resolved, so far as in him lies, to imitate.

In today’s world, there are more than 5000 languages and dialects in use, of which only 100 may be considered of major importance. As Dreyfuss (1972) states, inter-communication amongst them has proved not just difficult but impossible. Because a universal language would be the solution to this problem, over 800 attempts have in fact been made in the last 1000 years to develop an official second language that in time could be adopted by all major countries. Some of the most (...) recognized examples are Esperanto, Interlingua, Ido and Volapuk. However, all of them combine elements of existing languages and rely on the Roman alphabet, which reduces their applicability to certain regions of the world. The aim of this project is to explore the world of pictographic communication and develop an effective system for conveying information/knowledge on a universal scale. This would potentially bridge linguistic and cultural gaps, transcending boundaries, and thereby creating a broader vision of multiculturalism. In this sense, we find useful the notion of ‘semantography’, from the Greek word semanticos, significant meaning, and graphin, to write. The term was coined by Charles K. Bliss in 1947 to define his development of a non-alphabetical symbol writing system, based on the principles of ideographic writing and chemical symbolism. Semantography was the name of Charles K. Bliss’ proposed book for the Blissymbolic communication system. (shrink)