Categorization of technologies by the order of their inbetweenness is a useful device for parsing complex structures info fundamental parts and understanding the application of a technology. This promises a coherent foundation for explaining how we deploy technologies in design, in particular with respect to the affordances they create. By connecting the categorization of technologies to the matching of user effectivities to features of the environment in affordances, the paper proposes an approach to the transparent description of the assemblages produced (...) by design in terms of which technologies are involved and how they connect to each other, to the wider environment and to users. For affordances, this improves specificity concerning the features of the environment that are directly relevant to an interaction and the connections between these features and the rest of the environment. With respect to technologies, it helps understand not only why a technology may be used under certain circumstances but also abuse and underperformance. Finally, it supports design by providing means for parsing complex situations into chains of technologies between animals and environments. This helps explain how technologies modify effectivities, environments or relations between the two and how this affects design performance. (shrink)

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

Empiriomonism is Alexander Bogdanov's monistic philosophy of being and cognition, which he believed is consistent with both modern science and Marxism. In Books One and Two of Empiriomonism, Bogdanov begins with Ernst Mach's and Richard Avenarius's neutral monism - the idea that the 'physical' and the 'psychical' are two sides of one reality - and explains how human psyches are causally interconnected with the rest of nature. In Book Three, he shows how empiriomonism substantiates the principles of historical materialism (...) more adequately than G.V. Plekhanov's out-dated materialism. Bogdanov concludes that empiriomonism, although not technically materialist, is nevertheless of the same order as materialist systems and, since it is the ideology of the productive forces of society, it is a Marxist philosophy. (shrink)

Aims to show that the brain is not responsible for consciousness, and uses this assertion to explore profound love and human connection.

Contemporary architecture is increasingly grounded in science and mathematics. Architectural discourse has shifted radically from the sometimes disorienting Derridean deconstruction, to engaging scientific terms such as fractals, chaos, complexity, nonlinearity, and evolving systems. That's where the architectural action is -- at least for cutting-edge architects and thinkers -- and every practicing architect and student needs to become conversant with these terms and know what they mean. Unfortunately, the vast majority of architecture faculty are unprepared to explain them to students, not (...) having had a scientific education themselves. Here is an architecture book by an architect/scientist, just in time to help architects in the new millennium. Alexander discusses many of the scientific terms arising in cutting-edge architecture, and explains them to those who don't have scientific training or advanced mathematical knowledge. We find discussions of the evolution of forms; the importance of process in design; iteration; genetic algorithms; sequences of transformations; different levels of scale (i.e. fractals); etc. They are explained here by an architect who is also a scientist, because he wants to change the way architects think and build. Alexander is not merely popularizing other scientists' results and making them accessible to architects: he is in fact presenting new and original scientific work that ties many of these concepts together in a way that will be useful to architects. (shrink)

We prove existence of mixed strategy equilibria for a class of discontinuous two-player games with non-compact strategy sets. As a corollary of our main results, we obtain a continuum of mixed strategy equilibria for the first- and second-price two-bidder auctions with toeholds. We also find Klemperer’s (2000) result about the existence of mixed strategy equilibria in the classical Bertrand duopoly.

"Alexander's commentary on Book 1 concerns the definition of Aristotelian syllogistic argument; its resistance to the rival Stoic theory of inference; and the character of inductive inference and of rhetorical argument. Alexander distinguishes inseparable accidents, such as the whiteness of snow, from defining differentiae, such as its being frozen, and considers how these differences fit into the schemes of categories. He speaks of dialectic as a stochastic discipline in which success is to be judged not by victory but (...) by skill in argument. Alexander also investigates the subject of ambiguity, which had been richly developed since Aristotle by the rival Stoic school."--BOOK JACKET. (shrink)

Walter Benjamin's influence on Theodor Adorno centers on the former's early philosophy of language, which drew on manifold sources, including importantly the theological writings of Johann Georg Hamann. Adorno adapts this “expressivist” philosophy of language as part of a critique of Hegel's dialectic that forms the basis for Adorno's understanding of epistemology and social criticism. The result of this tempered influence is that Benjamin's and Adorno's projects share a great deal of common ground and vocabulary, but diverge in fundamental ways. (...) These tensions come to the fore in Adorno's 1930s criticisms of Benjamin's unfinished Arcades Project. Of particular import are their respective understandings of Benjamin's notion of a constellation. For Adorno the constellation is a response to the dialectical tension in the relation between subject and object, while for Benjamin it transcends that relation. (shrink)

This is the second of two special issues, and the articles are grouped according to two themes: The previous, first issue featured articles that shared the theme Technologies and the Political, while this second issue is focused on the theme of Subjectivities. In this second, somewhat expanded, introduction, the “sky’s the limit.” This introduction canvasses various theoretical and conceptual-empricial perspectives that the articles of both issues touch on and further tries to open many doors through which readers are invited to (...) go on their own rather than give readymade answers. This introduction is written not only to give both an overview of some of the most important conceptual, methodological, and empirical contexts that the two special issues evoke but also to create invitations for many further conversations to be had from here on forward by beginning the interrogating and troubling of the intercourse between “science” and “science fiction”: beause all of this has happened before and will happen again. (shrink)

In view of the posthumous Nietzschean writings, written between the years 1872 and 73, the scope of this paper is to investigate the place and function of philosopher in culture. We will analyze to what extent Nietzsche thought the nature of philosophical framework and the complex relation that philosophy establishes with science and with art. Regarding its edifying purposes, philosophy departs from the aims of science, which is the production of pure knowledge, and goes towards the uplifting goal of art.

Gleichzeitig reformuliert er die Erbsundenlehre der christlichen Tradition, wenn er den Menschen als radikal bose bezeichnet. Heit zeigt, dass Kant die Spannung zwischen Freiheit und Sunde nur durch religiosen Vollzug fur uberwindbar halt.

Theocritus' twenty-second idyll is cast in the form of a hymn to the Dioscuri, who are addressed in the proem as saviours of men, horses, and ships. This opening section of the idyll is modelled loosely on the short thirty-third Homeric hymn, and like that hymn contains an expanded account of the twins' rescue of ships about to be lost in a storm. As is hardly surprising, Theocritus in reworking the Homeric hymn draws on other literary antecedents as well, and (...) like other Alexandrian poets makes prominent use of diction borrowed and adapted from the Homeric epics. At the same time, the proem also shares several points of contact, largely overlooked or disputed by previous scholarship, with the poetry of Theocritus' own contemporaries. In the present paper, I shall suggest that in the storm scene of the proem references to Aratus' Phaenomena and Apollonius Rhodius' Argonautica occur in a carefully arranged pattern with potentially significant implications for our understanding of the proem and the idyll as a whole. (shrink)

This chapter contains sections titled: Introduction Necessity and Essence Naming and Reference Rules and Meaning Conclusion References.

Can we have a posteriori knowledge of modal facts? And if so, is that knowledge fundamentally a posteriori, or does a priori intuition provide the modal component of what is known? Though the latter view seems more straightforward, there are also reasons for taking the first option seriously.