Ciprian Mihali, Inventarea spatiului. Arhitecturi ale experientei cotidiene Editura Paideia, Bucureoti, 2001.

Following philosopher Maurice Merleau-Ponty’s unique phenomenology of embodiment and his understanding of three-dimensional space as existential rather than geometric, the article claims that despite sophisticated algorithmic imaging tools, architectural space as a space of meaningful experience does not subject itself to both two-dimensional and three-dimensional representations and simulations. Merleau-Ponty’s phenomenology is instrumental in helping identify a “blind spot” in contemporary architecture design process. Our experience of built space is always far more saturated (with regard both to (...) the input of the senses and our cultural and personal background) than any sophisticated tool of representation. This paper draws a direct link between the invention of linear perspective and the use of digital three-dimensional visualization and the popular opinion that these are reliable tools with which to create architecture. A phenomenological analysis of Beaubourg Square in Paris serves as a case study that reveals the basic difference between experiencing space from the point of view of the actual subjective body who is present in space and experiencing designed space by gazing at its representation on a two-dimensional screen. Relying more and more on computation in architectural design leads to a rational mathematical conception of architectural space, whereas the human body as the actual experiencing presence of this space is overlooked. This article claims that in cases of great architecture, such as Beaubourg Square in Paris, the lived-experience of the built space is also the experience of bodily presence, which is a unique mode of existential meaning, which cannot be simulated or represented. (shrink)

If we are to think about diagrams closely, we must register their cognitive significance as they direct work and establish networks of relationships among multiple symbolic fields. Diagrams do not engage a simple horizon of understanding but are part of an integrative process through which structures literally appear in the world. Rather than being hermeneutic in a strict sense, diagrams are heuristic because they are accompanied by an expectation that they participate in a process that turns words and experience into (...) structure. Because diagrams may shift in status, they may be thought of as relays that both create meaning and enable symbolic translation from one mode of representation to another. While a diagram may visually present or reinforce an idea one moment, the next it may provide a means for seeing something never seen before. After commenting on how recent architectural theory has approached diagram, I consider the relationship between diagram and metaphor before turning my attention to the ways that diagrams function within a process that includes design as well as building. Finally, I ask how the use of diagram within architecture points not only to a phenomenology of invention and practice but also to the networks which constitute architecture. (shrink)

With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90’s have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented (...) territories. Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the inte- gration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the “soft and smart technologically augmented immanent millieu”, in Spuybroek terms. Thus, like Spuybroek points out as the “haptonomist” presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces –inner and outer forces–, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality. (shrink)

The aim of this paper is to review the main aspects of a major super-paradigm running through spatial studies, a paradigm that I have called “subjectivism” and that may also be called the “conceptual” paradigm, with emphasis placed on postmodern approaches to space; it is opposed to another super-paradigm, the “objectivist” or “materialist” paradigm. While the objectivist paradigm approaches space as a material entity, the conceptual paradigm studies the conceptual world of social subjects, either the meaning that spatial (...) objects have for them or the ideas associated with them. Thus, the conceptual orientation is a semiotic orientation in the wide sense and hence a cultural orientation.Postmodern theorizing is only the latest subjectivist tendency in spatial studies, and there is a whole series of antecedents, which are thus a kind of “pre-postmodern” approaches. In this context, I discuss sociocultural human ecology, environmental psychology, behavioral geography, and humanistic geography from the Anglo-Saxon tradition, and structural anthropology and the semiotics of space from the French tradition. My discussion also covers the postmodern approaches to space in human geography , social anthropology, archaeology, and architecture and urban design.Subjectivism and objectivism in spatial studies are opposed and antagonistic paradigms. However, I believe that both of them are partial approaches that need to be articulated into a unified theory. Works of major authors show how this articulation may be realized, something which implies the integration of subjectivism with political economy. (shrink)

"Postmodernism" has become the buzzword of contemporary society. Yet it remains baffling in its variety of definitions, contexts and associations. Beginning Postmodernism aims to offer clear, accessible and step-by-step introductions to postmodernism across a wide range of subjects. It encourages readers to explore how the debates about postmodernism have emerged from basic philosophical and cultural ideas. With its emphasis firmly on "postmodernism in practice," the book contains exercises and questions designed to help readers understand and (...) reflect upon a variety of positions in the following areas of contemporary culture: philosophy and cultural theory; architecture and concepts of space; visual art; sculpture and the design arts; popular culture and music; film, video and television culture; and the social sciences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, any artificial increase (...) of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Gender, Domesticity, and the Age of Augustus: Inventing Private LifeDavid FredrickKristina Milnor. Gender, Domesticity, and the Age of Augustus: Inventing Private Life. Oxford Studies in Classical Literature and Gender Theory. Oxford: Oxford University Press, 2005. xii + 360 pp. Cloth, $99.It is the often-difficult task of social history to explain how a given institution (e.g., marriage, education, the army) changed across different types of cultural expression (e.g., legal (...) and moral prescriptions, representation in visual art and literature) and in lived experience. In this fruitful and sometimes brilliant study, Kristina Milnor explores the repositioning of women during the Augustan period with respect to the distinction between public and private life. Over the course of an introduction, five chapters, and an epilogue, she develops the argument that the Augustan period "invented" private life or, more precisely, new strategies for representing private life, in order to make the imperial system look like a return to traditional Roman family values. In making this argument, Milnor looks back to the Republic and forward to Nero; she assembles a wide range of literary and material evidence and makes judicious use of theory. Milnor is primarily concerned with textual representation; as she puts it at one point, the volume is "a study of representation rather than reality" (40–41). However, she does include substantial sections on architecture and space, and in the end it is not clear whether Milnor sees architecture in the Augustan period as a mode of representation or as something that by reshaping behavior necessarily transformed private life in lived experience.The introduction uses Vergil's simile of the housewife spinning in Aeneid 8 to set up the much-debated distinction between "public" and "private" in Roman culture. Milnor notes that the original meaning of privatus during the republic is narrowly oppositional, "a man without a political or military position," but broadened during the empire to mean more generally, "anyone... who did not hold the ultimate 'public' role of emperor" (20). Hence privatus and "domestic" do not mean the same thing: "privatus is necessarily a political word," while "the domestic... functions as a kind of moralized privacy, a concept whose strength lies in its allegiance to supposedly transcendent and apolitical ethical truths" (27). Women emerge during the Augustan period as the preferred symbols of this "moralized privacy," and while the physical and social circumstances of Roman women were highly disparate, the representation of female virtues remains consistent: "the domestic ideal was a construct which did not 'truthfully' represent any woman's life, even at the same time as it purported to represent them all" (38).In the first chapter ("Reading and Writing Gender on the Augustan Palatine"), Milnor argues that Augustus' Palatine complex is "engendered" by the prominence of Niobe, Cleopatra, and the Danaids in its decorative program, pointing to the problematic display of female virtue in the princeps' house. Because of Augustus' unprecedented political position, the "private" behavior of the women in his house became a kind of public performance, a tension that persists in Augustus' larger treatment of the city. In Tristia 2, Ovid addresses Augustus as a fellow author whose "text" is the city of Rome, and just as women [End Page 605] have misread Ovid's poetry licentiously, they frequently appropriate Rome's temples and porticoes for sexual liaisons. Milnor observes that this disingenuous argument at least recognizes women as active and resisting readers of texts, noting further that imperial women (Octavia and Livia) are paradoxically empowered as "authors" of significant public spaces precisely because they were seen to be expressing politically disinterested virtues. The chapter concludes with a look back at Cicero's de Domo Sua, which casts Clodius as a feminized abuser of public space in his appropriation of the Portico of Catulus for his shrine of Libertas; the restoration of Cicero's house, meanwhile, represents the restoration of the Roman state. Milnor argues that this anticipates Augustus' use of his own house as a symbol for Rome, and thus as the site for a paradoxically public performance of the traditions of Roman domesticity.The second chapter, "Domesticity and Display in Vitruvius' de Architectura," begins with two significant questions. Why, if... (shrink)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between (...) class='Hi'>postmodernism and socialist realism. Despite the general view that postmodernism emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heuretics: The Logic of InventionTom ConleyHeuretics: The Logic of Invention, by Gregory L. Ulmer; xiv & 267 pp. Baltimore: Johns Hopkins University Press, 1994, $40.00 cloth, $13.95 paper.Heuretics designates areas of logic devoted to discovery and invention. This book sets out to reconfigure the metaphors that have dominated investigation since the advent of print-culture and the Columbian voyages. Adventure, quest, risk, discovery: Francis Bacon’s analogy of scientific research (...) to oceanic travel established the stereotypes that Ulmer strives to dismantle. In 1962 Claude Lévi-Strauss noted in The Raw and the Cooked that in our time: “It is no longer a question of sailing toward other lands: only the voyage is real, not the earth, and the routes have been replaced by the rules of navigation.” With the advent of hypermedia, creation becomes an art of selection and combination. Truth gives way to discovery. Creation is likened to a programmed mélange of material ordered by negotiation, intuition, and strategy.Ulmer performs his proof—and proves his performance—by constructing a virtual staging of a multilayered commemoration he fashions from cinema, architecture, Jacques Derrida’s oeuvre, American history, and autobiography. The result is a collage of signifiers that apposes literary theory, memory-arts, Gary Cooper’s persona in Beau Geste (dir. William Wellman, 1939), Columbian voyages, Platonic dialogues, and a canon of postmodern writings. Ulmer divides the book into four parts, the first of which crafts the overall method from Cartesian reason and Surrealist practices of juxtaposition and automatism. Part two offers a dynamic definition of choreography, the study of local, inherited, and originary areas in which subjectivity is born. In part three Ulmer [End Page 147] sets forth textual rehearsals, based on Lee Strasner’s Method (via Stanislavsky), that mobilize the space and time of his chosen materials. Part four, “Yellowstone Desert,” bring together the strands of the narrative embroidery into a gag-joke (a “puncept” on Custer and custard) that explodes in the author’s face.A good deal of the work turns on Ulmer’s treatment of chora. Exploiting its signifying potential (chora, corps, choral, chorus, coral) he discovers that the myth of the world’s creation recounted in the Timaeus begins when the demiurge makes an X from two strands of plasma. The chi is folded as colures of a sphere that becomes the globe. Nonetheless the presence of the self as an unknown (x) is inferred (in I, or ich). Ulmer shows that “in subordinating mystery to memory, and arguments to paradigms,” choreography will “engage the users’ premises in the process of learning, opening a mutually transforming circuit between judgment and theory, and hence affect not only (...) institutional practices (...) but human subjectivation as well” (p. 202). Patterned constructions replace the creation and resolution of enigmas. Hypermedia becomes the technology of new creation, while choreography comprises “the institutional practice for augmenting the intuitions of inference, for writing with the logic of the unconscious” (p. 224).Heuretics extends the field of play staked out in Ulmer’s Teletheory. Here is offered a scheme for creating multileveled texts that are both creative and critical and infinitely generative, and that invite readers to connect electronic media to the unconscious. Most readers will not fail to appreciate the wit of the exposition and the clarity of the creative method. Others will pause over some of its assumptions. Certain critical paradigms, such as the antithetical ontologies of Lacan and Derrida, appear easily reconciled. The unnameable traumas of history (genocide) and psychogenesis (the birth and growth of subjectivity) are glossed with an effortless art of citation (pp. 114, 233). The unconscious is assimilated into an easily “accessed” logic, the latter effortlessly “logging in” to the former. The redesign of the Columbian quincentenary indirectly ratifies some of the modes of control that flexible capitalism seeks to impose upon the unconscious. These four points require greater space of exchange in the rich and problematic dialogue that informs Ulmer’s stunning performance of theory.Tom ConleyUniversity of MinnesotaCopyright © 1995 The Johns Hopkins University Press... (shrink)

Neuroarchitecture uses neuroscientific tools to better understand architectural design and its impact on human perception and subjective experience. The form or shape of the built environment is fundamental to architectural design, but not many studies have shown the impact of different forms on the inhabitants’ emotions. This study investigated the neurophysiological correlates of different interior forms on the perceivers’ affective state and the accompanying brain activity. To understand the impact of naturalistic three-dimensional (3D) architectural forms, it is essential to perceive (...) forms from different perspectives. We computed clusters of form features extracted from pictures of residential interiors and constructed exemplary 3D room models based on and representing different formal clusters. To investigate human brain activity during three-dimensional perception of architectural spaces, we used a mobile brain/body imaging (MoBI) approach recording the electroencephalogram (EEG) of participants while they naturally walk through different interior forms in virtual reality (VR). The results revealed a strong impact of curvature geometries on activity in the anterior cingulate cortex (ACC). Theta band activity in ACC correlated with specific feature types (rs (14) = 0.525, p = 0.037) and geometry (rs (14) = - 0.579, p = 0.019), providing evidence for a role of this structure in processing architectural features beyond their emotional impact. The posterior cingulate cortex and the occipital lobe were involved in the perception of different room perspectives during the stroll through the rooms. This study sheds new light on the use of mobile EEG and VR in architectural studies and provides the opportunity to study human brain dynamics in participants that actively explore and realistically experience architectural spaces. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of (...) space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. The Parc de La Villette represents the (...) last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Bernard Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Jacques Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Peter Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, Absolute Otherness (tout autre) and the Impossibile were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others). Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Le texte aborde un cas particulier d’atmosphère, l’inquiétante étrangeté, dans son rapport à l’espace architectural, selon une inflexion phénoménologique soulignant la teneur d’atmosphère (Stimmung) du sentiment éprouvé. Effectuant une relecture du texte éponyme de 1919 de Freud sous cet angle, notamment l’épisode de la promenade dans la petite ville italienne, la réflexion s’engage ensuite dans une approche de la peinture de De Chirico, en particulier le tableau de 1913 La grande Tour. Les écrits du théoricien américain de l’architecture Anthony Vidler (...) viennent à l’appui de la réflexion. La conclusion fait retour sur la maison hantée, au regard d’expériences artistiques plus contemporaines. (shrink)

This qualitative research study explores the cultural identity and artistic creation of traditional architecture in the Wuyuan area within the context of China's new rural construction. The research focuses on the reinvention of tradition and its impact on Wuyuan's architectural art, highlighting the conflict and change between traditional culture and modernization. By maintaining the traditional look, Wuyuan's architectural art has become representative of China's rural landscape, embodying rich historical and cultural heritage. The study aims to provide insights on ways to (...) inherit cultural identity in a balanced and sustainable manner under the principle of reinvention of tradition. Through an analysis of architectural art in Wuyuan, the research emphasizes the importance of traditional creations in the context of new rural construction, offering value to all involved parties. The findings of the study contribute to a better understanding of the preservation and innovation of traditional architectural styles, providing theoretical references for rural development policies in the context of China's new rural construction. (shrink)

Disabled by chasing curricular criteria (required for accreditation and professional registration), architecture schools are mostly compliance and reproduction machines serving the building industry. As a corrective, Recoding Architecture Pedagogy: Insurgency and Invention asserts disciplinary knowledge over professional skills as the proper aim and focus of architecture education. The insurgent pedagogy introduced subverts architecture and its teaching’s capture by capitalism’s dominant modes of production and consumption to reveal unexpected tactics for enlarging possibilities. Grounded in architecture histories and theories, philosophy, and anarchism’s (...) emphasis on use and dissensus, combined with PUNK’s DIY ethos, design studio emphasis on technicity is upended to reveal the subversive aim of intensifying tensions between (doomed) desires for artistic autonomy and (intrinsic) burdens of use constituting architecture as a discipline, instead of seeking resolution, some neutral middle ground, or escape into banal practice or paper palaces. By concentrating on what architecture education suppresses (tensions), disavows (its capture within the building industry), or affirms (commercial practice over disciplinary knowledge), Recoding Architecture Pedagogy: Insurgency and Invention cracks open horizons of possibility by showing how intensifying agonistic relationships between the myriad binaries that characterize architecture and its teaching is generative, in ways conciliatory synthesis, cathartic resolution, and uncritical affirmation are not. (shrink)

The article is devoted to the little-studied component of architectural creativity - architectural graphics. At the same time, the purpose of the article is three-dimensional: to consider the categorical, historical and postmodern problems of architectural graphics, which will allow to outline a holistic picture of this cultural phenomenon. The article uses the methods of typological, historical and synchronous-cult analysis of both specific architectural artifacts and trends in the development of architectural graphics in general. It has been proven that architectural graphics, (...) as a unique type of graphics, are a means of expressing the creative ideas of an architect. They define, define and correct the direction of his professional searches. Graphics influence the creativity of a design as it serves as a graphical visualization of an architecture. Architectural graphics are the line between the design calculation and the creative imagination of the author. He performs artistic and engineering tasks at the same time. The article deals with the problem of architectural graphics as a specific creative activity, which, as a result of historical development, has formed into a separate genre direction. A number of conceptual and terminological issues are touched upon, including the definition of the very concept of «architectural graphics». The priority features of architectural graphics and variants of its stylistic solutions by different architects and designers have been identified. (shrink)

The "art of being free" is an essential part of democracy. It involves, Mark Reinhardt believes, bringing into being the multiple spaces in and practices through which individuals and groups help to constitute their lives, their selves, their worlds. Americans are presently witnessing a contraction of officially sanctioned spaces for citizen action. It is now crucial, Reinhardt argues, to identify ways of opening new spaces for the direct practice of democratic politics. Reinhardt treats the writings of Alexis de Tocqueville, Karl (...) Marx, and Hannah Arendt as exemplary sources for an expansion of political possibility. These writers indicate where and how the new spaces can be brought into being, and they reveal acts of making space as some of the prime moments of politics. Reinhardt's extended readings of these writers, never previously treated together, are quite unlike the familiar understandings of their thought. "Taking liberties," he brings the literary and political sensibility usually associated with postmodernism to a sympathetic if critical encounter with eminently modern thinkers. The result is a strong and idiosyncratic book, accessible and stylish, that mixes acute readings of canonical thinkers with more practical applications and illustrations. Reinhardt combines attention to textual detail and nuance with concern for contemporary politics, discussing as an unusually inventive example the AIDS activist group ACT UP. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

필자는 전통 산사 건축이 출가 수행자나 일반인 모두에게 ‘역사적인 종교적 상징’으로 인식되고 있다는 전제 하에서 부석사(浮石寺)를 텍스트로 삼아 ‘예배자의 시각 체험의 관점에서’ 사찰 공간과 그것을 둘러싼 자연(산, 암석, 숲 등)이 예배자에게 어떻게 인식될 수 있는지를 살펴보았다. 먼저 의상은 ‘명당’ 봉황산 부석사를 품은 무진강산 그 자체를 화엄의 무한한 초월의 진리를 설하고 있는 ‘정토’로 보았다는 점에서 예배자에게 그것은 ‘진리의 무한한 초월성’으로 읽힐 수 있을 것이다. 다음으로 의상의 후계자들은 먼저 ‘석축과 계단’의 구성을 통해 각각 ‘붓다의 존엄적 초월성’과 ‘붓다와 예배자의 실존적 만남’이라는 상호 대비적인 (...) 상징을 시각적으로 구현하려고 노력하였으며, 또 ‘부석’과 ‘선묘각’을 포함한 ‘무량수전’ 영역의 구성을 통해 그곳이 예배자들에게 ‘진리의 무한한 초월성’과 ‘붓다의 존엄적 초월성’을 동시에 체험하게 만드는 ‘시각 체험의 중심’이자 ‘창건주 의상과 부석사 창건의 신성성’을 상기시키는 ‘기억의 중심’으로 인식되도록 노력하였으며, 마지막으로 ‘조사당’을 외딴 숲속에 소박하게 지음으로써 산사 부석사의 창건주 의상이 은자이자 수행자이었다는 점을 상기시키려 노력하였던 것으로 읽어 보았다. 요컨대 필자는 부석사의 건축 공간에 대한 철학적 독법을 통해 불교적 이상 공간인 ‘정토’의 구현으로서 산사 건축이 예배자의 눈에 ‘명당’, ‘진리의 무한성’, ‘붓다의 존엄성’, ‘예배를 통한 붓다와의 만남’, ‘시각 체험과 기억의 중심’, ‘숲속의 은거지’ 등의 다양한 상징으로 읽힐 수 있음을 보여주려 노력하였다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jameson on Jameson: Conversations on Cultural MarxismPaul Allen Miller (bio)Jameson, Fredric. Jameson on Jameson: Conversations on Cultural Marxism. Ed. Ian Buchanan. Durham, NC: Duke UP, 2007. 296 pp.Fredric Jameson may well be the greatest intellectual produced by the United States in the last half century. It is difficult to think of anyone else who has made as many, as lasting, and as wide-ranging contributions as Jameson. From his (...) early work on Sartre’s style, passing through the twin opera on dialectical theory (Marxism and Form) and formalism and structuralism (Prisonhouse of Language), and the idiosyncratic appreciation of Wyndham Lewis (Fables of Aggression) to that summa of Marxist hermeneutics, The Political Unconscious, and from his major collection of essays, The Ideologies of Theory, through his books on Adorno (Late Marxism) and film (Signatures of the Visible), to that foundational text on postmodern literature, theory, art, and architecture, Postmodernism or the Cultural Logic of Late Capitalism, and the late work on world cinema (The Geopolitical Aesthetic), utopianism (The Seeds of Time), Brecht (Brecht and Method), modernity (A Singular Modernity), and science fiction (Archaeologies of the Future), Jameson’s career is unparalleled in the American letters. It is perhaps not coincidental, either, that this larger-than-life figure on the intellectual stage ranging easily from Russian formalism to Deleuzean antihumanism, from Balzac to Frank Gehry, and from Hegel to Derrida, is an intellectual dissident. Contemporary American life’s alternation between uncritical consumerism (Marcuse’s one-dimensional man) and nonothing anti-intellectualism (Christian fundamentalism and corporate-fueled jingoism) could only produce such a body of work as an alien presence: its own systemic negation and thus the fullest expression of its deepest internal contradictions. The present collection of interviews from 1981 to the present, then, stands as a welcome commentary on Jameson’s vast work and an important reflection of the changes in American intellectual life in the period from the last days of the Cold War to the end of the second Bush administration.Naturally, as with any collection of interviews, not every thing is new here. Indeed, to the seasoned reader of Jameson, much of this is familiar territory, and there is a fair amount of repetition from one interview to the next (Goethe’s concept of “world literature,” for example, is a recurring motif). Nonetheless, there are many moments of real insight and bold commentary that remind us why Marxism is far from dead and how Jameson has achieved an iconic status rivaling that of Lukacs, Althusser, or Eagleton, as one of the preeminent Marxist thinkers of the last century. Many of these come in the form of vignettes, little snippets of cultural analysis. One such comes in Jameson’s interview with Columbia University Professor of History Anders Stephanson. Here Stephanson asks Jameson to comment on the recent architectural and cultural phenomenon of creating ersatz public spaces. These come in the form of commercial areas that present themselves in guise of “squares,” “plazas,” or “villages.” They make reference to and pastiche traditional forms of life and then re-represent them in the form of a hypercapitalist consumerism. These simulacra of less alienated, precapitalist forms of [End Page 65] life are then presented as depthless surfaces, parodies of authenticity. The archetype of such ersatz public spaces is Disney’s EPCOT:Stephanson: In other words, you are referring to his compressed version of the world; little toy countries where you can orient yourself in no time at all.Jameson: I suppose you can orient yourself because walking paths are available. But where you actually are is a real problem, for you may in fact be in the Florida Everglades, and in this case you are not only in a swamp but also in a simulacrum of a different geographical complex altogether. Disneyland is, on the whole, supremely prophetic and paradigmatic of these multiple shifting and dissolving spatial levels. (49)This is both an insightful observation and a wonderful example of Jameson’s dialectic at work. One moment we’re walking hand in hand with Goofy round the little, fake Eiffel Tower of EPCOT and the next we sink into the morass that paved the Everglades, acquired control... (shrink)

Summary This paper deals with the development of Husserl’s and Merleau-Pontys analyses of the affective lived experience of body and space. Both the concept of „flesh“ (Merleau-Ponty) and „Hyle“ (Husserl) stand for a sensuous principle that underlies the original givenness and solidarity of body and world and I claim that this interaction and the concomitant intertwining of body and place make up the existential dimension of architecture, i.e. the, being-here-in-a-place’. In this connection, I argue that the fact that bodily (...) affective experience endows the world with sense has led to a double break: On the one hand with representation and on the other with perspectivity and compossibility of the realms of being in Husserl’s and Merleau-Ponty’s respective approaches. Finally, I will exemplify this break and the development of genetic insights – from an anthropocentric, organic and harmonious space conception to a topologic space made up of incompossibilities expressing an ambiguous sense – with paradigmatic works of architecture, so as to make evident the explanatory potential of phenomenology for architecture. (shrink)

The Monumental is an interdisciplinary collection of original, cutting-edge contributions by international researchers pursuing the epistemology and ontology of monuments over time and geography. The contributors are specialists in geography, architectural theory and history, prehistoric, Greek and Roman archaeology, modern art, Byzantine studies, landscape theory and heritage reception. Against the global climate of flux and uncertainty in the present turbulent world, the durability of monuments as "urban permanences" emerges as one of the few remaining spatial and mental anchorages. As such (...) it is needed, maintained, enhanced, imitated, landscaped and even invented. In particular, the monumental as a spatial and aesthetic phenomenon of perpetual importance has recently acquired major new meanings. It now emerges as a key political, spatial, aesthetic, symbolic, architectural and archaeological manifestation or entity, open to constantly new, even contradictory forms and expressions. This collection addresses the urgent need for relevant research. It breaks new ground by posing fresh questions on the ontology, temporality, purpose, politics, scale, place, contestations and aesthetics of and around the monumental, from prehistoric time to the present, as well as in both Eastern and Western geographies. Monuments are explored as bearers of the urban majestic, extraordinary and sublime. The Monumental poses questions about changing perceptions, the evocative power of representation, identity construction, ideology and symbolism, the vital necessity for a communicative and active public space around monuments, imitation processes across geographical space-time, as well as the powers that construct, deconstruct or identify the monumental but also the anti-monumental as such. Geographies of reference are the European space, the United States and Asia. Wide-ranging theorizations alternate with in-depth analyses of paradigmatic cases. Conventional as well as alternative forms of the monumental in the present shifting world are also pursued. The Monumental is of great value and interest to scholars, students and professionals in the fields of architectural theory, history and design, archaeology, art theory and history, Byzantine studies, restoration, urban design and planning, human, urban and cultural geography, cultural studies, social anthropology, Asian studies, as well as those in wider subdisciplines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the force of (...) this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

During the last decades, many cognitive architectures (CAs) have been realized adopting different assumptions about the organization and the representation of their knowledge level. Some of them (e.g. SOAR [35]) adopt a classical symbolic approach, some (e.g. LEABRA[ 48]) are based on a purely connectionist model, while others (e.g. CLARION [59]) adopt a hybrid approach combining connectionist and symbolic representational levels. Additionally, some attempts (e.g. biSOAR) trying to extend the representational capacities of CAs by integrating diagrammatical representations and reasoning are (...) also available [34]. In this paper we propose a reflection on the role that Conceptual Spaces, a framework developed by Peter G¨ardenfors [24] more than fifteen years ago, can play in the current development of the Knowledge Level in Cognitive Systems and Architectures. In particular, we claim that Conceptual Spaces offer a lingua franca that allows to unify and generalize many aspects of the symbolic, sub-symbolic and diagrammatic approaches (by overcoming some of their typical problems) and to integrate them on a common ground. In doing so we extend and detail some of the arguments explored by G¨ardenfors [23] for defending the need of a conceptual, intermediate, representation level between the symbolic and the sub-symbolic one. In particular we focus on the advantages offered by Conceptual Spaces (w.r.t. symbolic and sub-symbolic approaches) in dealing with the problem of compositionality of representations based on typicality traits. Additionally, we argue that Conceptual Spaces could offer a unifying framework for interpreting many kinds of diagrammatic and analogical representations. As a consequence, their adoption could also favor the integration of diagrammatical representation and reasoning in CAs. (shrink)

Enhancing national cultural self-confidence involves promoting and strengthening the protection and utilisation of traditional national villages. Studying how to protect and inherit the resources of these villages, as well as utilising existing resources in a sustainable manner, poses a challenging issue. Further research is needed to investigate the influence of regional culture on residential buildings in the mountainous areas of the Yao people in Guangxi, and to explore how traditional architectural elements can preserve their cultural essence using modern artistic language. (...) The project aims to: 1. Examine how regional culture influences Yao ethnic minority houses in Guangxi's mountains; 2. Evaluate existing challenges and implement contemporary design for improvement; 3. Create sustainable and culturally significant Yao mountain dwellings. The research collected qualitative data from six towns using a combination of semi-structured interviews, participant observation, and reviewing internet and print news sources. The residential structures in Yaochi Mountain District, Guangxi exhibit unique regional cultural traits, although they also have deficiencies in several areas. This study find that the beauty of the natural environment remains constant but the architectural vestiges and cultural history show remarkable variance, both of which greatly contribute to sustainable development. This study found that traditional villages in Guangxi share a number of characteristics, including a severe deficiency in clean energy and a poor rate of carbon utilisation, during our investigation of the sustainable development of the spatial dimension of the ecological legacy of these communities. According to a weight analysis performed at the sub-index factor level, the variety of building uses is the most important indicator of the spatial sustainability of traditional villages in Guangxi. The outcomes of this study provided a valuable empirical evidence and practical suggestions for areas and nations involved in the preservation of cultural heritage and the investigation of sustainable rural development. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by (...) Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space—the (...) destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic. (shrink)

Port Cities are historically the places for paradigm shifts, radical changes, and socio-economic transitions. In particular, the interaction zone between the port infrastructure and urban activities creates liminal spaces at the forefront of many contemporary challenges. In these liminal spaces, the port's flows, form, and function intertwine with urban contexts and conflict with the living conditions. Conceptualizing the portcityscape and harborscape as liminal space and urban thresholds leads to (re)thinking about innovative participatory methods and technologies for building community resilience (...) in port cities. Additionally, inevitable constant development in port cities requires adaptability and resilience from the waterfronts to the hinterlands and city centers. Such confrontation of port infrastructures and urbanization is socio-politically and spatially challenging, specifically in historic port cities. Therefore, as the approach to exploiting energy and human resources changes over time, the physicality of the built environment in port cities and how we (re)use the resources need to be redefined. This research investigates key socio-spatial features and challenges of port cities by examining how the port's proximity to the city requires coordination, collaboration, transparency, and community dialogue. The introduction and background literature discuss three domains and notions of port city studies, building community resiliency through participatory frameworks, and parasitic architecture. By building upon this analytical framework, the paper presents case studies developed within the research-led design studio focusing on building resilient communities in four port cities, including Amsterdam, Constanta, Alexandria, and Rio De Janeiro. This research focus on the community-enabled application of emerging technologies, innovative approaches, and co-designing and co-building participatory methods. The selected case studies introduce an integrative and multi-scalar pedagogical framework for building resilient communities in liminal spaces of port cities. (shrink)

In an era where decolonizing architectural pedagogy is imperative, cities stand as the forefront of radical thought, acting as crucibles for ideological, activist, and spatial dynamics. These urban landscapes are not just breeding grounds for new paradigms, but also reflect significant shifts in political and social frameworks. This study adopts the concept of the “radical city” as a prism to understand how local events echo global political and sociocultural disturbances. This research takes an innovative approach by integrating mixed-method pedagogies, student-driven (...) inquiries, and diverse case studies, spanning continents from Asia to Latin America, Europe to Africa, and the US to the UK. The aim is to explore the deep-rooted changes in these cities and to promote a decolonized approach to architectural education, moving beyond traditional, Eurocentric narratives. The backbone of this research is the course “Visualizing Radical Urbanism,” offered at the Huckabee College of Architecture, Texas Tech University, in Fall 2022 and Fall 2023. Through this course, students engage in a pedagogical journey involving exploration, research, analysis, and introspection on their selected radical city. Their diverse methodologies and expressive mediums converge in a comprehensive portfolio, showcasing their intellectual growth and culminating in a reflective essay on their urban subject. By focusing on educational research and time investment in this course, the study highlights the importance of sustained, critical engagement with urban environments. This approach not only enriches architectural education but also contributes to the broader discourse on urban activism and decolonization, reinforcing the need for diverse, inclusive, and globally aware architectural pedagogies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ad Infinitum: The Ghost in Turing’s Machine: Taking God Out of Mathematics and Putting the Body Back InTony E. JacksonAd Infinitum: The Ghost in Turing’s Machine: Taking God Out of Mathematics and Putting the Body Back In, by Brian Rotman; xii & 203 pp. Stanford: Stanford University Press, 1993, $39.50 cloth, $12.95 paper.Brian Rotman’s book attempts to pull mathematics—the last, most solid home of metaphysical thought—off its absolutist (...) foundations and into the roiling current of postmodernism. His argument works in what has by now become a rather standard manner. He shows how the grounding ideas of mathematics rest upon the insupportable assumption of a realm of absolute truth, “truth perfect, truth outside time, outside space, outside the material world of matter, energy, and entropy, truth somehow able to be discovered or apprehended but never invented” (p. 19). Rotman questions this Platonic grounding in a number of ways.First, with the help of linguistics (de Saussure, Benveniste, Wittgenstein, and Peirce) he provides a semiotic analysis of mathematical arguments as real-world linguistic events. Proof he looks at “not as a form of inference engaged in preserving eternal truths, but as an historically conditioned species of rhetoric” (p. 35). Secondly, Rotman argues that one idea has most secured the fortress-like solidity of mathematical Platonism: the idea of ad infinitum or infinite iteration. Mathematics takes off from the givenness of the natural numbers, our everyday 1, 2, 3 and so on to infinity. It is the “so on to infinity” that frames up the house of arithmetic as it has stood since Euclid. (Euclidean in this context is equivalent to Platonic in the context of philosophy.) But what is the referent of these numbers? Ultimately they are said to be the symbolic representation of the action of counting, which is the “mathematical ur-cognition” (p. 51). And yet we cannot imagine any material human situation in which counting could actually go on to infinity. Therefore, some impossible, supernatural agent (the ghost of the title) must be projected in order for this conception to exist. Similarly, Rotman argues against the assumption of “perfect repeatability” because this notion depends upon some purely imaginary, ideal identity of object or action that could possibly be repeated. Ad infinitum requires and assumes both a disembodied, metaphysical counter and a disembodied, metaphysical counted.So Rotman sets about putting the body back into this symbolic system by rejecting the idea of ad infinitum. Instead of assuming the existence of counting activities that run, in principle, out to infinity without changing their nature, Rotman posits what he calls “realizable iteration,” that is, counting that admits the necessary dissolution or change of whatever repetitive function you begin with. Put simply, he includes the fact that quantitative accumulation or repetition always eventually brings about a qualitative change: at some point in everyday life a difference of degree of the “same” thing or action inevitably becomes a difference of kind. The natural numbers and the ad infinitum [End Page 390] remain blissfully sheltered from this inescapable real world truth, but Rotman reformulates mathematics so as to include this truth in the very idea of numbering.In fact (and he acknowledges this) he theorizes counting after the model of chaos or complexity theory in the physical sciences. Realizable iteration, he says, will bring in the “qualitative differences” forgotten or repressed (the language of Nietzsche, Heidegger, and Freud runs throughout) in the metaphysical version of number, and “display [the qualitative differences] as the emergent effects of repetition” (p. 131). Even numerical addition, for instance, which had been the most linearly continuous of activities, now will be linear beginning from some initial point, but will become increasingly nonlinear as quantitative increase tends towards some point of qualitative discontinuity with what had come before. The point of discontinuity, though certain to appear, is by its nature not specifiable beyond a horizon of probability, and in this, Rotman aligns his arithmetic not only with chaos theory, but also with quantum mechanics. In an appendix, Rotman elaborates at least to a degree the “pre-elements” of his non-Euclidean arithmetic.As chaos theory does not destroy everyday cause... (shrink)

The author suggests to view the architectural planning of the human environment as „directing” the phenomena and events that occur in human surroundings. In her reflections on human existence she juxtaposes the concepts “environment” and “space”, which both accentuate different aspects of the human environment. The author views “environment” as the objective existence of human surroundings, and “space” as the effect of environmental envisionment and experiencing the environment by means of rationality and valuation.The author also focuses on interactions (...) between the paradigm of thought and the paradigm of the order which humans bring into the space they design, and describes related examples. She notes that the links between architecture and the “how” and “what” of our thinking are visible not only in accounts of bygone eras, but also in the influence on architecture of two contemporary thought trends—post-modernism and ecologism. She goes on to suggest that ecological architecture should be understood as spatial design patterned on the structure of eco-systems. Thus understood, ecological architecture is neither structuralistic, nor “atomic”, nor collectivistic. The author also sees the difference between post-modern and ecological architecture in the ability of making use of the opportunities provided by difference. (shrink)

Psyche: Inventions of the Other is the first publication in English of the twenty-eight essay collection Jacques Derrida published in two volumes in 1998 and 2003. Advancing his reflection on many issues, such as sexual difference, architecture, negative theology, politics, war, nationalism, and religion, Volume II also carries on Derrida's engagement with a number of key thinkers and writers: De Certeau, Heidegger, Kant, Lacoue-Labarthe, Mandela, Rosenszweig, and Shakespeare, among others. Included in this volume are new or revised translations of seminal (...) essays (for example, "Geschlecht I: Sexual Difference, Ontological Difference," "Geschlecht II: Heidegger's Hand," "How to Avoid Speaking: Denials," and " Interpretations at War : Kant, the Jew, the German"). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Affective Spaces: Architecture and the Living Body by Federico de MatteisJasna SersicAffective Spaces: Architecture and the Living Body BY FEDERICO DE MATTEIS New York, NY: Routledge, 2021What is architectural space? For architects, urban planners, and all involved in the design and transformation of the environment, space is a central subject. However, despite this fact, nobody accurately states what space is all about. As a result, (...) the concept of space remains ambiguous, challenging to transmit, and a point of fundamental misunderstandings, with consequences on how we move, inhabit, and transform the world around us (1).In the attempt to provide order in today’s theory of space in architecture, De Matteis’ Affective Spaces invites the reader to explore the question of space from the subject’s point of view by asking what the encounter with architecture is like, and how do I feel, here, now?, borrowed from Eugene Minkowski (7). De Matteis offers an interconnected yet clear and instructive way to explore further what first-hand, direct experience with architecture can tell us about the effects it produces on us. Through this exciting intellectual journey, De Matteis thus shows how architecture, generally understood as an art of building space, does not regard the built environment alone. As people are also emotionally affected by the (built) world they live in, this book can ultimately be read as a quest to understand the relation between the feelings and moods arising from the bodily, corporeal experience of the built environment and the way they invite us to respond and act within environments we inhabit and modify (130).To accept De Matteis’ invitation to join him on his quest entails two things. The first is to take the position that the root of the emergence of sense and feelings is the subject’s corporeity. We must thus acknowledge the primacy of feeling (130). The second, by extension, is to put aside preconceived notions and conceptual tools for representing space inherited from modernity, as they are grounded in dualistic contraposition between physical reality, which is seen as objective (9). In contrast, experience and feeling are seen as subjective (9). Consequently, [End Page 142] they cannot adequately grasp the non- measurable dimensions of the lived space and thus the experience that the subject makes of it.Instead, De Matteis argues that one cannot describe space as a thing separate from us and that we are always a part of the space we inhabit. For this purpose, the book derives its theoretical model of space from phenomenology, which considers the felt body as a sounding board for the built environment and human experience of the world.The book is arranged into fourteen chapters that show the thematic progression of the argument, and is structured in three parts that explore space, the living body and corporeal dynamics, and the experiential character of some specific families of space. Titles of the chapters provide clear signposts to the reader about where the story is going and are much appreciated in this unique exploration. They also show that the author carefully weaves the conceptual intersections between phenomenology and its model of space with investigations in several fields of knowledge. Drawing across a multitude of disciplines, ranging from geography, anthropology, psychology, philosophy of mind, and aesthetics to neurosciences, and offering many examples from art, literature, film, and everyday life, the book helps the reader visualize the content discussed. This panoramic character and accessible language and format make it an engaging read for experts in the field and to a broader audience interested in topics addressed in the book.Perhaps one of the most compelling arguments the book brings forward is that the corporeal dynamics of space enable understanding of space as a thing that is not separate from us. It is from the coming together of persons and things that atmospheres arise. They are not objective, yet they exist as the natural qualities of things; neither are they subjective, yet they belong to sensing beings. This understanding implies a possible workable definition with no boundary between the subject and object. However, it also clearly points out that the book emerged in response to our modern understanding and critique... (shrink)

In Contagious Architecture, Luciana Parisi offers a philosophicalinquiry into the status of the algorithm in architectural and interaction design.

The paper suggests that architectural making , a process of research in practice , and itself a bridging between the space of experience and the horizon of expectations , corresponds to phenomenology as a method of inquiry. This includes architectural phases parallel to epoché, phenomenological reduction, free variations, transcendental intuition of the essence, and description . The paper describes the in-between, its two edges, experience and expectations, and their mutual influences through the process of architectural making. Examples from the (...) design studio and professional literature illustrate the argumentation. The in-between is presented as structured, notably having a depth—the ineffable origin of creativity. In conclusion, the paper suggests that the edges and the in-between are temporary configurations in flux, wherein the architect makes use of his/her most inner resources, as a contribution to the metamorphosis and revitalization of his/her culture. (shrink)

JPVA Journal of Philosophy and the Visual Arts No 6 Complexity Architecture / Art / Philosophy 'Beginning with complexity will involve working with the recognition that there has always been more than one. Here however this insistent "more than one" will be positioned beyond the scope of semantics; rather than complexity occurring within the range of meaning and taking the form of a generalised polysemy, it will be linked to the nature of the object and to its production. Complexity, therefore, (...) will be inextricably connected to the ontology of the object. What this means is that complexity, in resisting the hold of a semantic idealism on the one hand, and the attempt to give to it the position of being the basis of a new foundationalism on the other, becomes a way of thinking both the presence and the production of objects.' Andrew Benjamin The Journal of Philosophy and the Visual Arts has set new standards in its exploration of themes central to philosophy's relation to the visual arts, illuminating areas of art criticism, architecture, feminism as well as philosophy itself. Rather than simply reflecting current trends it provides a forum in which the real developments in the analysis of the visual arts and its larger cultural and political context can be presented. Articles by well known philosophers and theorists, as well as some lesser known, together with writings by artists and architects allow a strong interdisciplinary approach reflecting the Journal's roots in post-structural theory. Previous issues include: Philosophy & the Visual Arts (No 1) Philosophy & Architecture (No 2) Architecture, Space, Painting (No 3) The Body (No 4) Abstraction (No 5). (shrink)

Architecture is the key mediator between time or duration and production. Creating architecture consists of spacing, leaving intervals, dilating. Space contributes to the construction of time, just as time contributes to the construction of space. This mutual construction of space and time by the means of architecture offers a new approach of the transcendental aesthetic, a transcendental aesthetic which determines the conditions of the productive system to promote the sustainable development.

Common space and public open spaces are studied and investigated from various aspects in western contexts. What is the most considered in this study is the relationship between public open space and democratic functions in eastern context and especially in Middle Eastern countries. The notion of public is connected to the notion of people in the framework of the nation-state political organization. What was happened in Cairo in 2011, just as in Kiev in 2014, and Turkey 2013 was (...) the prolonged and mass occupation of public space by citizens. Indeed, physical space for the expression of democratic rights and claims is important in modern democracy. Tehran is studied as the example of a contemporary metropolis that embodies spatial-political tensions within its urban form. Tehran’s urban form remains deeply rooted in the historical ideologies of space in shaping a contemporary space of sovereignty. By reading the city through transformation of public spaces, the relationship between its architecture and political power will be exposed as an example in which the architecture of the city is charged with enabling an ideological interaction through action and reaction, revolution and resistance. This study focuses on Tehran during two major intervals 1921-1950(politics towards modernity)/1951-1979(Architecture for revolution) and the roots and results of these critical periods and their integration to political theology in contemporary middle-east metropolis. (shrink)

In the decade that followed 1972, the journal _boundary 2_ consistently published many of the most distinguished and most influential statements of an emerging literary postmodernism. Recognizing postmodernism as a dominant force in culture, particularly in the literary and narrative imagination, the journal appeared when literary critical study in the United States was in a period of theory-induced ferment. The fundamental relations between postmodernism and poststructuralism were being initially examined and the effort to formulate a critical sense (...) of the postmodern was underway. In this volume, Paul A. Bové, the current editor of _boundary 2_, has gathered many of those foundational essays and, as such, has assembled a basic text in the history of postmodernism. Essays by noted cultural and literary theorists join with Bové’s contemporary preface to represent the important and unique moment in recent intellectual history when postmodernism was no longer seen primarily as an architectural term, had not yet come to describe the wide range of culture it does now, but was finding power and place in the literary realm. These essays show that the history of postmodernism and its attendant critical theories are both more complex and more deeply bound with literary criticism than often is acknowledged today. _Early Postmodernism_ demonstrates not only the significance of these literary studies, but also the role played by literary critical postmodernism in making possible newer forms of critical and cultural studies. _Contributors_. Barry Alpert, Charles Altieri, David Antin, Harold Bloom, Paul A. Bové, Hélène Cixous, Gerald Gillespie, Ihab Hassan, Joseph N. Riddel, William, V. Spanos, Catharine R. Stimpson, Cornel West. (shrink)

New theories about the radical break with the traditions of modernism in literature, architecture, cinema, mass media, and consumer culture began emerging in the late 70s from writers as diverse as Baudrillard, Lyotard, Kroker, Jencks, and importantly Fredric Jameson who leads the effort to bring Marxist cultural critique forward into the postmodernism debate. This volume appraises Jameson's work and Marxism as a conceptual framework for theorizing postmodernism.