Online research in philosophy

As Newton realized, his absolute space was a ‘conspiracy of nature’ in the sense that his laws dictated that nobody could discover who, among all possible observers (in various states of motion relative to one another), was at rest in absolute space. So absolute space was an unverifiable element of his theory.

It will always remain a remarkable phenomenon in the history of philosophy, that there was a time, when even mathematicians, who at the same time were philosophers, began to doubt, not of the accuracy of their geometrical propositions so far as they concerned space, but of their objective validity and the applicability of this concept itself, and of all its corollaries, to nature. They showed much concern whether a line in nature might not consist of physical points, and consequently that true space in the object might consist of simple [discrete] parts, while the space which the geometer has in his mind [being continuous] cannot be such.

In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space.

“In space”, declared the posters for the 1979 movie Alien, in a deliberately disconcerting juxtaposition, “no-one can hear you scream.” Yet even the space that lies beyond the earth is not utterly silent – stars and planets themselves produce sounds that radiate through the rarefied gases lying between them, although the wavelengths produced lie far beyond the range of human hearing. There are, then, not even in the spaces between the planets and the stars, any truly silent spaces, and merely to be present in a space, no matter the nature of the space in question, is already to disturb that space in multiple ways – such disturbance typically being manifest acoustically no less than visually. Yet often we tend to conceptualise space and spatial presence in terms that actually give priority to the visual over the acoustic, and even to neglect the spatial character of the acoustic altogether. A classic example of this is to be found in the work of the British philosopher Peter Strawson who famously proposed, as a kind of thought-experiment, the idea of what he called a ‘No-Space world’ that was constituted in purely auditory terms, and was for just this reason taken to be a non-spatial world. 1..

Space, Difference, and Everyday Life merges these two schools of thought into a unified Lefebvrian approach to contemporary urban issues and the nature of our ...

“Public space” is the space where individuals see and are seen by others as they engage in public affairs. Hannah Arendt links this space with “public freedom.” The being of such freedom, she asserts, depends on its appearing. It consists of “deeds and words which are meant to appear, whose very existence hinges on appearance.” Such appearance, however, requires the public space. Reflecting on Arendt’s remarks, a number of questions arise: What does the dependence of freedom on public space tell us about the nature of freedom? How does public freedom relate to the freedom of a private individual? Does the latter also depend on its appearing? Which is generatively prior: freedom or public space, i.e., the actions that publicly manifest freedom or the space required for their appearance? How does public power shape this space? In this article, I approach these questions through a phenomenological study of public space.

Existential space is lived space, space permeated by our raced, gendered selves. It is representative of our very existence. The purpose of this essay is to explore the intersection between this lived space and art by analyzing the work of the Cuban?born artist Ana Mendieta and showing how her Siluetas Series discloses a space of exile. The first section discusses existential spatiality as explained by the phenomenologists Heidegger and Watsuji and as represented in Mendieta's Siluetas. The second section analyzes the space of exile as a space of in?between?ness and borders. Lastly, the third section discusses temporality as it relates to the space of exile. Through the analysis of Mendieta's Siluetas, and in light of phenomenological accounts of space and the works of Anzaldúa and Mignolo, Ana Mendieta herself is disclosed as well as the space characteristic of those who can no longer be said to have a ?home.? My exploration through my art of the relationship between myself and nature has been a clear result of my having been torn from my homeland during my adolescence. The making of my Silueta in nature keeps (makes) the transition between my homeland and my new home. It is a way of reclaiming my roots and becoming one with nature. Although the culture in which I live is part of me, my roots and cultural identity are a result of my Cuban heritage.1 ??Ana Mendieta Living in a state of psychic unrest, in a Borderland, is what makes poets write and artists create.2 ??Gloria Anzaldúa.