The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? We often say that video (...) games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)

Martin Heidegger and Vincent Scully, writing from very different positions, agree that the enclosure of human life and the disclosure of a moral universe are the chief functions of architecture, and they agree further that the traditional house best exemplifies the first function and the Greek temple the second. The culture of technology has emptied the home of many substantial engagements, and it has reduced the monumental structures, the high-rises and expressways, to instrumental status. Architects need to understand the (...) cultural force of technology, the ways buildings shape the conduct of our lives, and the responsibilities that follow from the comprehension of contemporary culture. (shrink)

This paper addresses questions of ethics in the professional practice of architecture. It begins by discussing possible relationships between ethics and aesthetics. It then theorises ethics within concepts of 'practice', and argues for the importance of the context in architecture where narrative can be used to learn and to integrate past and present experience. Narrative reflection also takes in the future, and in the case of architecture there is a positive but not yet well accepted move (particularly within the 'academy') (...) to realise the imperative nature of architecture's responsibility with respect of global sustainability. Architects, more perhaps than other professions, use the faculty of imagination in their work, and this paper therefore maintains that architects as artists are uniquely qualified to exercise 'moral imagination' when it comes to situations where moral deliberation is needed. Pragmatism has given a new impetus to the importance of imagination in moral reflection, and I focus on John Dewey's categories of 'empathy' and 'dramatic rehearsal' as descriptors of moral imagination as applied in situations. I argue in conclusion firstly that empathy between end-users and architects is an essential but not always realised part of morality in architecture, and secondly that 'dramatic rehearsal', when extended more widely that a given situation, may lead architects to question the social, political and ecological contexts of their work and thus motivate them to prioritise the 'ethical' in all the choices they make. (shrink)

The aim of this paper is to achieve a better understanding of why modern buildings do not easily harmonize with one another. After proposing, and defending, an analysis of the concept of architectural harmony, the paper turns to three possible views on whether we can expect more harmony from modern architecture in the future.

In The Aesthetics of Architecture, Roger Scruton makes at least four claims about rightness of architectural proportion. The present paper lists those claims, briefly discusses the way they are related, and, finally, selects one as the topic of discussion: the claim that there cannot be an exact, mathematical definition of rightness of proportion. Scruton’s arguments for this claim are reviewed. The first is found to be substantially correct, whereas the second is found to rely on a mistaken assumption, namely the (...) assumption that rightness of proportion is relative to a point of view. The paper ends by arguing that either the real or the apparent proportions of a building have to be definitely right, and that neither can be allowed to be definitely wrong. (shrink)

As a spiritual or meditative practice solitude implies more than mere silence or being alone. While these are perhaps indispensablecomponents, it is possible to be alone or to live in silence and nevertheless be unable to reconfigure these into genuine solitude. Solitude is also more than being in some remote or inaccessible place. Even though geographical isolation might be conducive to solitude, with rare exceptions human beings have seldom sought solitude in complete seclusion in the wilderness. The places where human (...) beings have sought solitude have in the end been human places, human-built places. It should come as no surprise then that through architecture humans beings have sought to build solitude, to construct, through stone and glass and wooden structures, placesthat are conducive to and encourage solitude. Such structures include individual hermitages, monasteries, temples, and even cathedrals. In each case the purpose is to translate or reconfigure a natural geographical place into a space, a human space, where solitude as a spiritual or meditative practice becomes possible. What the individual sojourner brings to the experience is an inner openness to the architecture, to the natural environment and to the spiritual realm which interweave to create solitude. This paper examines (1) the spiritual need to experience solitude, (2) what it is that solitude requires, and (3) the endeavor to create solitudethrough architecture and the challenges it poses to both architecture and spiritual practice. In particular the paper explores and compares solitude’s architectural expression in three Medieval Christian monastic orders—the Camaldolese Order, the Carthusian Order, and the Cistercian Order. Despite their common heritage these orders realize solitude, as an essential spiritual value, through unique architectural expressions. (shrink)

Introduction -- 1. General obligations. Conflicts of interest -- Uncompensated work -- Community service -- Pro bono work -- Living conditions -- Working conditions -- Layoffs -- Unequal pay -- 2. Obligations to the public. Repressive governments -- Corrupt politicians -- Public officials -- Public opinion -- Public bailouts -- Public reviews -- Public health -- Cultural differences -- 3. Obligations to the client. Self-destructive behavior -- Distrustful behavior -- Dishonest behavior -- Deceptive behavior -- Spendthrift behavior -- Solicitous behavior (...) -- Unrealistic expectations -- Manipulative situations -- 4. Obligations to the profession. Greed -- Insensitivity -- Jealousy -- Betrayal -- Treachery -- Unfairness -- Uncertainty -- Cheating -- 5. Obligations to colleagues. Office affairs -- Working hours -- Labor law violations -- Crediting coworkers -- Accommodating disabilities -- Firm bankruptcy -- Firm loyalties -- Untrustworthy colleagues -- 6. Obligations to the environment. Environmental hypocrisy -- Environmental conflicts -- Contextual conflicts -- Social justice -- Future generations -- Other species -- Reducing waste -- Reducing consumption -- Why ethics matters now. (shrink)

The title of this article is adapted from Theodor W. Adorno’s famous dictum: ‘To write poetry after Auschwitz is barbaric.’ After the catastrophic earthquake in Kocaeli, Turkey on the 17th of August 1999, in which more than 40,000 people died or were lost, Necdet Teymur, who was then the dean of the Faculty of Architecture of the Middle East Technical University, referred to Adorno in one of his ‘earthquake poems’ and asked: ‘Is architecture possible after 17th of August?’ The main (...) objective of this article is to interpret Teymur’s question in respect of its connection to Adorno’s philosophy with a view to make a contribution to the politics and ethics of architecture in Turkey. Teymur’s question helps in providing a new interpretation of a critical approach to architecture and architectural technology through Adorno’s philosophy. The paper also presents a discussion of Adorno`s dictum, which serves for a better understanding of its universality/particularity. (shrink)

“Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real (denoted over the course of the studies as the “Real-Irreal” or “Else-where”). While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational (...) values by way of its putative autonomy (autonomy as self-interest, versus selflessness); its main repression in this regard is “landscape,” figure of the Other and figure of the Real. Engaging forms of spectrality, and not necessarily speculative intelligence per se, architecture is also “conscious” of its own complicity in capitalist orders, a complicity that in part underwrites its avant-garde forms of agitation since the onset of modern architecture. As a result, and over the course of the twentieth century, architectural vanguards have successively been depleted such that they return only as reified half-measures in the late-modern production of difference. As such, the essay “Actually Existing Ground” (2008) examines the failed promise of Landscape Urbanism. Since the 1960s, as with the allied arts, architecture has evacuated many of the utopian gestures given to modernism and embraced a form of ultra-contingency in a direct alliance with the post-modern and post-Marxist concession to markets and to cultural production as principal means of establishing formal hegemony. This recourse or surrender to the economic-determinist ethos of post-modernity, regardless of attempts to problematize it and/or critique it through types of what Manfredo Tafuri has called “operative criticism” (works of architecture as criticism), has, arguably, all but failed, and with the suggestive return circa 2011 of new forms of resistance an exit from the accommodating spirit of the times is indicative of the expectation of strenuous, yet highly formal and non-discursive operations within artistic and architectural production. The essays collected in “Else-where” cross various disciplines, inclusive of landscape architecture, architecture, and visual art, to develop a nuanced critique of an emergent formal regard in the arts that is also an invocation of the highest coordinates given to the arts – formal ontology as speculative intelligence itself – or the return of the universal as utopian thought “here-and-now.”. (shrink)

A review of Nana Last‘s Wittgenstein’s House: Language, Space, and Architecture (New York: Fordham UP, 2008, 207 pp. ISBN 978-0-8232-2880-5).

Japan's Ise Jingu shrine has been taken down and rebuilt every twenty years for more than a millenium - a practice called "shikinen sengu." A standard ontology of architecture, according to which buildings are material particulars, implies that Ise Jingu is no more than twenty years old. However, a correct ontology of architecture is implicit in practices of architecture appreciation. The Japanese appreciation of Ise Jingu and other buildings in its architectural tradition implies both that it is no more than (...) twenty years old and that it is more than a thousand years old. Two ontologies are considered that reconcile this paradox. A general lesson is also drawn, that ontology of art can profit from cross-cultural studies. (shrink)

In everyday life we often act adequately, yet without deliberation. For instance, we immediately obtain and maintain an appropriate distance from others in an elevator. The notion of normativity implied here is a very basic one, namely distinguishing adequate from inadequate, correct from incorrect, or better from worse in the context of a particular situation. In the first part of this paper I investigate such ‘situated normativity’ by focusing on unreflective expert action. More particularly, I use Wittgenstein’s examples of craftsmen (...) (tailors and architects) absorbed in action to introduce situated normativity. Situated normativity can be understood as the normative aspect of embodied cognition in unreflective skillful action. I develop Wittgenstein’s insight that a peculiar type of affective behaviour, ‘directed discontent’, is essential for getting things right without reflection. Directed discontent is a reaction of appreciation in action and is introduced as a paradigmatic expression of situated normativity. In the second part I discuss Wittgenstein’s ideas on the normativity of what he calls ‘blind’ rule-following and the ‘bedrock’ of immediate action. What matters for understanding the normativity of (even ‘blind’) rule-following, is not that one has the capacity for linguistic articulation or reflection but that one is reliably participating in a communal custom. In the third part I further investigate the complex relationships between unreflective skillful action, perception, emotion, and normativity. Part of this entails an account of the link between normativity at the level of the expert’s socio-cultural practice and the individual’s situated and lived normativity. (shrink)

This paper illustrates how affordance-based design can contribute to solutions for the grand challenges that society faces. The design methodology of ‘strategic interventions’ is explained.

For the Venice Architecture Biennale 2010, curator Rietveld Landscape has been invited by the Netherlands Architecture Institute (NAI) to make a statement about the potential of landscape architecture to contribute to resolving the complex challenges that our society faces today. These challenges call for innovation; for a culture centred on design skills and cooperation between scientists and creative pioneers. The installation ‘Vacant NL, where architecture meets ideas’ calls upon the Dutch government to make use of the enormous potential of inspiring, (...) unoccupied buildings from the 17th, 18th, 19th, 20th and 21st centuries for innovation within the creative knowledge economy. Images of the installation can be found here: www.rietveldlandscape.nl/en/projects/439. (shrink)

Given the contemporary complexity of cities, landscape and society, urgent social tasks call for an integral, multidisciplinary approach. Rietveld Landscape’s strategic interventions focus and use the forces of existing developments and processes. This design method creates new opportunities for landscape, architecture, the public domain, ecology, recreation and economic activity.

Some works of architecture have remarkable aesthetic value. According to certain philosophers, part of this value derives from the appearance of such constructions to fulfil the function for which they were built. I argue that one way of understanding the connection between function and aesthetic value resides in the concept of functional beauty. I analyse a number of recent accounts of this notion, then offer a better way of understanding it. I then focus my attention on the relation between aesthetic (...) and moral values and claim that, if the notion of functional beauty makes any sense at all, then we have a pro tanto case for holding that moral defects in works of architecture can have aesthetic merits. (shrink)

I present and evaluate various criticisms against the view that architecture and architectural value are to be understood solely in terms of internal space. I conclude that the architectural value of a building should not be limited to its internal spatial effects because the value of other elements, such as (non-spatial) function, materials, ornamentation, and so on cannot all be reduced to spatial values.

The notion of architectural experience has been explored by Roger Scruton in an essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing (...) these criticisms. (shrink)

Wittgenstein's Lectures on Aesthetics contain valuable hints towards an aesthetics of everyday life. They lend plausibility to a broadly Kantian vision of aesthetic judgement and also shed light on the understanding of architecture and related practices.

Silos, mills, sheds, and refineries: Across most of Oklahoma’s gently rolling prairie countryside these artistically uninformed structures often provide the only vertical punctuation to a landscape otherwise made of mostly horizontal lines. One of the pleasures of teaching architecture here is to participate in the intellectual progress of students—many of whom hail from rural areas and have traveled little—as they eventually come to regard these structures with much the same admiration expressed for them some eighty years ago by Le Corbusier (...) in his rallying polemic against the arbitrariness of nineteenth-century architecture: Vers Une Architecture.1 Like Le Corbusier, many of my students would have their work .. (shrink)

Introduction -- Henri Lefebvre : the production of theory -- Research : from practices of dwelling to the production of space -- Critique : space as concrete abstraction -- Project : urban society and its architecture -- Afterword : toward an architecture of jouissance.

This volume provides the reader with an integrated overview of state-of-the-art research in philosophy and ethics of design in engineering and architecture.

This essay assesses the opposition of pluralism and monism with respect to politics and architecture, developing the argument within three general areas: the spurious association between political intentions and architectural character, the distinctions and commonalties between political freedom and artistic freedom, and the adverse effect of inappropriate associations between political content and artistic form in general and, in particular, the perceptual impairment of the processes by which buildings come to be endowed with their suitable character.

An early encounter of Western and Chinese labyrinths took place during the late eighteenth century in the Qing imperial garden Yuanming Yuan, where the Western Jesuits built a labyrinth for Emperor Qianlong.1 Beginning with Daedalus’s legendary design, the labyrinth was the basis throughout Western history of a primary meaning of the built environment.2 With a rigorously geometrical layout, the labyrinth in the Yuanming Yuan appeared exotic to the Chinese eye but was specifically named by the Chinese as a “garden” because (...) of its meandering movement similar to Chinese gardens.3 The comparability between the Western labyrinth and Chinese gardens triggers this research on the idea of labyrinth in Chinese building .. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Concerns photography and time as duration, sequence, equability, past and present (illus.).

The collaborative projects described in this e-book have already produced thrilling new danceworks, new technologies, and innovative experimental methods. As the papers collected here show, a further happy outcome is the emergence of intriguing and hybrid kinds of writing. Aesthetic theory, cognitive psychology, and dance criticism merge, as authors are appropriately driven more by the heterogeneous nature of their topics than by any fixed disciplinary affiliation. We can spy here the beginnings of a mixed phenomenology and ethnography of dance practice (...) and choreographic cognition, which is deeply informed and empirically inspired by the best current theory in the sciences of the embodied mind [footnote 1]. These sciences must themselves increasingly deal with culture and cognition all at once: questions about pleasure in movement, habit and skill, and kinaesthetic memory, for example, require neuroscientific, physiological, psychological, sociological, and anthropological investigation simultaneously. These then are essentially collaborative enterprises, and the active interpenetration of the concerns of dance practitioners and academic researchers is one remarkable success of Unspok en Knowledges and Conceiving Connections. (shrink)

Metacognition is associated with planning, monitoring, evaluating and repairing performance Designers of elearning systems can improve the quality of their environments by explicitly structuring the visual and interactive display of learning contexts to facilitate metacognition. Typically page layout, navigational appearance, visual and interactivity design are not viewed as major factors in metacognition. This is because metacognition tends to be interpreted as a process in the head, rather than an interactive one. It is argued here, that cognition and metacognition are part (...) of a continuum and that both are highly interactive. The tenets of this view are explained by reviewing some of the core assumptions of the situated and distribute approach to cognition and then further elaborated by exploring the notions of active vision, visual complexity, affordance landscape and cue structure. The way visual cues are structured and the way interaction is designed can make an important difference in the ease and effectiveness of cognition and metacognition. Documents that make effective use of markers such as headings, callouts, italics can improve students' ability to comprehend documents and 'plan' the way they review and process content. Interaction can be designed to improve 'the proximal zone of planning' - the look ahead and apprehension of what is nearby in activity space that facilitates decisions. This final concept is elaborated in a discussion of how e-newspapers combine effective visual and interactive design to enhance user control over their reading experience. (shrink)

Given the contemporary complexity of cities, landscape and society, urgent social tasks call for an integral, multidisciplinary approach. Rietveld Landscape’s strategic interventions focus and use the forces of existing developments and processes. This design method creates new opportunities for landscape, architecture, the public domain, ecology, recreation and economic activity.

Philosophers have recently begun to write about fashion in dress. They acknowledge that philosophy traditionally ignored the subject altogether or else disparaged fashion. They do not observe that those past philosophers who slighted fashion characterized it as mass imitativeness; but in fact that one-sided characterization is what permitted commentators to overlook innovativeness in fashion. Indeed the figure of the foreigner that recurs in philosophical remarks about fashion only makes sense given a reading of fashion as imitative uniformity. The foreigner becomes (...) a deus ex machina accounting for the newness in fashion that the imitative model renders otherwise inexplicable. (shrink)

Common wisdom includes expressions such as “there is no accounting for taste'’ that express a widely-accepted subjectivism about taste. We commonly say things like “I can’t stand anything with onions in it'’ or “Oh, I’d never eat sushi,'’ and we accept such from our friends and associates. It is the position of this essay that much of this language is actually quite unacceptable. Without appealing to complete objectivism about taste, I will argue that there are good reasons to think that (...) there will be fairly wide agreement between experienced palates on aesthetic preferences, and that this result will not necessarily agree with unexperienced and unreflective opinions on the matter. Subjectivism about aesthetic preference can be taken to justify the practice of picking eating (after all, who is better to say what I’ll enjoy than me?), while the position of this paper is that such picky eating is a moral failing. To be a picky eater is to have a significant lack of openness to new experiences. It involves an irresponsible level of fallibilism with respect to taste. Never venturing into new aesthetic landscapes leads to a sort of repetitiveness, which in turn leads to a life full of blandness and banality. (shrink)

I argue that many philosophical arguments for veganism underestimate what is at stake for humans who give up eating animal products. By saying all that’s at stake for humans is taste and characterizing taste in simplistic terms, they underestimate the reasonable resistance that arguments for veganism will meet. Taste, they believe, is trivial. Omnivores, particular those that I label meaningful omnivores, disagree. They believe that eating meat provides a more meaningful meal, though just how this works proves elusive. Meaningful omnivores (...) could find little in the philosophical literature to help them clarify and support their position until recently. A few philosophers have argued that our culinary practices involve something more significant than taste. I categorize these arguments into three kinds. They either argue that culinary practices are a form of artistic achievement, that our diet forms part of our identity, or that a specific diet facilitates honest engagement with the world. Each of these arguments connects some aspect of our culinary practices to living a meaningful life. I examine each argument to see if it can defend the meaningful omnivore’s position. In the end, I conclude that it cannot. Nonetheless, this argument has significant implications for the animal welfare movement. Given the intense suffering caused by contemporary animal agriculture, concern for meaning is not sufficient to justify eating meat and often dairy. Concern for meaning does, however, require that we look for ways to preserve and extend culinary traditions while making them more humane. (shrink)

This article explores the relationship between ecofeminism, food, and the philosophy of place. Using as example my own neighborhood in a racially integrated area of Philadelphia with a thriving local foods movement that nonetheless is nearly exclusively white and in which women are the invisible majority of purchasers, farmers, and preparers, the article examines what ecofeminism contributes to the discussion of racial, gendered, classed discrepancies regarding who does and does not participate in practices of locavorism and the local foods movement (...) more broadly. Ecofeminism, it is argued here, with its focus on the ways that race, class, gender, and place are ontologically entangled, helps to highlight the ways identity and society are made and re-made through our encounters with food. (shrink)

Although public interest in sustainability increases and consumer attitudes are mainly positive, behavioral patterns are not univocally consistent with attitudes. This study investigates the presumed gap between favorable attitude towards sustainable behavior and behavioral intention to purchase sustainable food products. The impact of involvement, perceived availability, certainty, perceived consumer effectiveness (PCE), values, and social norms on consumers’ attitudes and intentions towards sustainable food products is analyzed. The empirical research builds on a survey with a sample of 456 young consumers, using (...) a questionnaire and an experimental design with manipulation of key constructs through showing advertisements for sustainable dairy. Involvement with sustainability, certainty, and PCE have a significant positive impact on attitude towards buying sustainable dairy products, which in turn correlates strongly with intention to buy. Low perceived availability of sustainable products explains why intentions to buy remain low, although attitudes might be positive. On the reverse side, experiencing social pressure from peers (social norm) explains intentions to buy, despite rather negative personal attitudes. This study shows that more sustainable and ethical food consumption can be stimulated through raising involvement, PCE, certainty, social norms, and perceived availability. (shrink)

In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs (attitudes/norms) are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, (...) it does not place responsibility for the offense in the humorist or audience that enjoys sexist humor. I develop an alternate account of the offense in sexist humor that places responsibility for offense in precisely those quarters. (shrink)

: Humor seems uniquely human, but it has deep biological roots. Laughter, the best evidence suggests, derives from the ritualized breathing and open-mouth display common in animal play. Play evolved as training for the unexpected, in creatures putting themselves at risk of losing balance or dominance so that they learn to recover. Humor in turn involves play with the expectations we share-whether innate or acquired-in order to catch one another off guard in ways that simulate risk and stimulate recovery. An (...) evolutionary approach to three great literary humorists, Shakespeare, Nabokov and Beckett, shows that a species-wide explanation not only cuts deeper but in no way diminishes individual difference. (shrink)

“What is appreciation?” is a basic question in the philosophy of art, and the analogy between appreciating a work of art and getting a joke can help us answer it. We first propose a subjective account of aesthetic appreciation (I). Then we consider jokes (II). The difference between getting a joke and not, or what it is to get it right, can often be objectively articulated. Such explanations cannot substitute for the joke itself, and indeed may undermine the very power (...) of the joke to evoke an appropriate response. Sometimes the discourse of art critics can have a similar effect. We therefore explore the analogy between getting jokes and appreciating works of art (III), and find it unexpectedly strong. Finally (IV), we consider Wittgensteinian grounds for thinking as we do, considering the language game of joke-telling, the relevance of seeing aspects, and giving reasons. (shrink)