Graham Harman

In this book the metaphysical system of Graham Harman is presented in lucid form, aided by helpful diagrams. In Chapter 1, Harman gives his most forceful critique to date of philosophies that reject objects as a primary reality. All such rejections are tainted by either an undermining or overmining approach to objects. In Chapters 2 and 3, he reviews his concepts of sensual and real objects. In the process, he attacks the prestige normally granted to philosophies of human access, which Harman links for the first time to the already discredited Menos Paradox. In Chapters 4 through 7, Harman brings the reader up to speed on his interpretation of Heidegger, which culminates in a fourfold structure of objects linked by indirect causation. In Chapter 8, he speculates on the implications of this theory for the debate over panpsychism, which Harman both embraces and rejects. In Chapters 9 and 10, he introduces the term ontography as the study of the different possible permutations of objects and qualities, which he simplifies with easily remembered terminology drawn from standard playing cards.

This article uses the ideas of Marshall McLuhan (and to a lesser extent Martin Heidegger) to argue for a non-relational approach to architecture. The word ‘form’ is used throughout the arts and humanities, though in different ways depending on the term to which it is opposed: as in form vs. function, form vs. content, and form vs. matter. In his book The Autopoiesis of Architecture, Patrik Schumacher argues that form/function is the lead-distinction of the architectural profession. I hold that Schumacher cannot be right in this claim, since form and function are both too relational in character to form a true opposition.