In Part 2 of Discourse on the Method of Rightly Conducting the Reason and Seeking for Truth in the Sciences Rene Descartes, as a prelude to his ‘clearing away’ of prior philosophy, writes:
[T]here is very often less perfection in works composed of several portions, and carried out by the hands of various masters, than in those on which one individual alone has worked. Thus we see that buildings planned and carried out by one architect alone are usually more beautiful and better proportioned than those which many have tried to put in order and improve, making use of old walls which were built with other ends in view. In the same way also, those ancient cities which, originally mere villages, have become in the process of time great towns, are usually badly constructed in comparison with those which are regularly laid out on a plain by a surveyor who is free to follow his own ideas….we understand how difficult it is to bring about much that is satisfactory in operating only upon the works of others.
Interestingly enough, as the examples of Chandigarh, Brasilia, and Canberra show, the planned city, built from scratch to purpose, the product of a singular architectural vision, is very often a counterpart to the bustling, chaotic, cosmopolitan cities whose growth has proceeded, at best, along an entirely haphazard trajectory.The ostensible beauty of the planned city’s design has not compensated for its lack of history, the absence of accretions of culture and lives lived within its precincts; the planned city gets off the ground with little interference from what came before, but it does not encourage riffs and improvisation. The planned city offers a gleaming surface and little else; it lacks the blemishes that speak of a rich interior. It has set itself apart, and there it shall stay. (No offense is intended to the residents of these cities; still, I think they would agree their city’s lack of a past, its ab initio origins, contribute in some measure to the contrast it offers to the great metropolises of the world.)
There is much that goes wrong with Western philosophy thanks to Descartes: the obsession with system building, the epistemic foundationalism, the quest for certainty, the alignment of philosophy with the sciences and mathematics, the appearance-reality distinction, the desire to ground truths in something beyond the human, the divorce of philosophy from history. (These sins cannot all be laid at Descartes door, of course; Plato is the original culprit for many of them.) Here, in the Discourse, we see the glimmerings of another problematic vision, one manifest in domains other than philosophy as well: that works made in splendid solitude are necessarily inferior to those made jointly with others, through acts of creative, even if sometimes clumsy and flawed, appropriation and improvisation. In doing so, Descartes reinforces–among other things–the fallacy of the lone creator, the solitary artist, the self-made man, the sole author.
Ironically, Descartes ended up generating a great deal of undergrowth that hasn’t been cleared yet (or alternatively, a foundation that still tempts too many of those who came after.)