This handsomely produced volume contains 22 contributions from international scholars, which were originally presented at the 2000 Conference of the International Society for Phenomenology, Fine Arts, & Aesthetics. The papers center around the theme of gardens and include a wide range of topics of interest to phenomenologists but also, perhaps, to gardeners with a philosophical bent. A sampling of topics: Leonardo's Annunciation Hortus Conclusus and its reflexive intent; hatha yoga--a phenomenological experience of nature; the Chinese attempt to miniaturize the (...) world in gardens; conflating and compressing time in commodified space and architecture; constructing the deconstructive landscape (the ruin aesthetic); and a phenomenological-anthropological aproach to Zen gardens. The volume is lightly indexed by name (mostly philosophers). Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com). (shrink)

This essay develops on the aesthetic dimensions of decolonial thought in the work of Rodolfo Kusch and Enrique Dussel, who both point us to non-objectifying modes of thinking and being. Beyond a strictly epistemological approach, decolonial critique ought to offer an account of bodies, spaces, and movements that are the very condition of thought—that is to say, the condition of a mode of thinking otherwise, beyond the dominant colonial paradigm. This account of aesthetics involves the spacing and temporalizing of (...) bodies as they live and move through the world, or what Alejandro Vallega calls living-thinking. The spacing-temporalizing of life points us also to the rhythm of life—life as movement, flow, and spacing. Turning to resistant epistemologies alongside the work of Omar Rivera, I consider how these epistemologies go beyond disembodied and abstracted ways of knowing as they sidestep the subject/object divide and engage sensuous and embodied dimensions of thinking, aesthetic experiences, diverse geographies, and histories. In closing, I argue that decolonial aesthetics also points us to a critique of the coloniality of space. Moving beyond a cartographic grid that attempts to capture subjects and spaces in advance on its coordinate plane, decolonial aesthetics opens onto the richness of embodied and cosmic spaces. (shrink)

Introduction -- The historical foundations of Russian and Japanese philosophies -- Space in NOH : plays and icons -- Models of cultural space derived from Nishida Kitar and Semën L. Frank (Basho and Sobornost) -- Space and aesthetics : a dialogue between Nishida Kitar and Mikhail Bakhtin -- From community to time, space, development : Trubetzkoy, Nishida, Watsuji -- Conclusion -- Postface: Resistance and slave nations.

This book presents an innovative analysis of the role of imagination as a central concept in both literary and art criticism. Dee Reynolds brings this approach to bear on works by Rimbaud, Mallarme;, Kandinsky, and Mondrian. It allows her to redefine the relationship between Symbolism and abstract art, and to contribute new methodological perspectives to comparative studies of poetry and painting. The late nineteenth and early twentieth century was a crucial period in the emergence of new modes of representation, and (...) is currently at the forefront of critical enquiry. This is the first book to examine Symbolism and abstraction in this way, and the first to treat these poets and painters together. It is an original contribution to interdisciplinary scholarship in art history, literary history, and comparative aesthetics. (shrink)

Peg Rawes examines a "minor tradition" of aesthetic geometries in ontological philosophy. Developed through Kant’s aesthetic subject she explores a trajectory of geometric thinking and geometric figurations--reflective subjects, folds, passages, plenums, envelopes and horizons--in ancient Greek, post-Cartesian and twentieth-century Continental philosophies, through which productive understandings of space and embodies subjectivities are constructed. Six chapters, explore the construction of these aesthetic geometric methods and figures in a series of "geometric" texts by Kant, Plato, Proclus, Spinoza, Leibniz, Bergson, Husserl and Deleuze. (...) In each text, geometry is expressed as a uniquely embodies aesthetic activity because each respective geometric method and figure is imbued with aesthetic sensibility and geometric sense (rather than as disembodies scientific methods). An ontology of aesthetic geometric methods and figures is therefore traced from Kant’s Critical writings, back to Plato and Proclus Greek philosophy, Spinoza and Leibniz’s post-Cartesian philosophies, and forwards to Bergson’s "duration" and Husserl’s "horizons" towards Deleuze’s philosophy of sense. (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)

How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract (...) idea does present paradoxes. For example, how are we to respond to scientific updates about the ever greater vastness of space? The way forward presented here is to endorse, but not with any sense of uniqueness of misplaced grandeur, our freedom to contemplate with due seriousness both the near and the far and our own capacities, such as imagination and love, as also part of the wonder and mystery of the universe. (shrink)

We live in an age in which outer space has changed from a theme for flights of science fiction to the actual locus of exploration and travel.1 Space no longer has merely speculative significance for thinking about possible worlds; it has become a real factor in understanding the nature and conditions of the human world that we are constantly refashioning. Our entry into outer space brings with it changes in conditions and experience that require us to rethink (...) the concepts through which we comprehend environment and act environmentally. (shrink)

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century (...) and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century (...) and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)

Mustafa Dikec reveals the aesthetic premises that underlie Hannah Arendt, Jean-Luc Nancy and Jacques Ranciere's political thinking, and demonstrates how their politics depend on the construction and apprehension of worlds through spatial forms and distributions. Exploring these dimensions of the political, he argues that politics is about how perceive and relate to the world. Space is a form of appearance and a mode of actuality, and the disruption of such forms and modes is the sublime element in politics.

“In a coffee shop in a city, which is every coffee shop in every city, on a day which is everyday …”1Even in her incompleteness, iconic singer-songwriter Ani DiFranco makes a poignant point. Her point pertains to the ubiquity of a coffee shop in a city, which is every coffee shop in every city on a day that is everyday. Such is the vitality of these third places that offer relaxing space and time over and above coffee and other (...) related beverages in the global coffee culture.2 Even though most of these spaces are in some capacity social cogs in the widespread profit-making machinery of global capitalism, their aesthetic import and the scope of their sensuous apprehension is far from explored or tapped. Extant... (shrink)

In this study I investigate several questions related to adaptive restoration, i.e. when a functioning piece of architecture operates with a different purpose to its original one, as well as the role of aesthetics in re-purposing, and the importance of the special forms of experience such a conversion provides. The questions connected to these architectural projects are not only theoretically inspiring, leading to diverse and broad fields of research in architecture, art and aesthetics, but are also crucial on (...) a practical level, and hence require caution and precise consideration, given the impact the final results of such projects may have, as well as in terms of the effect and efficiency of the new space. Creative and adaptive re-purpose, modification or complete change of function can have wonderful potential, as well as, obviously, presenting serious hazards to avoid. What is equally important, however, is that this will also contribute to a strengthening of awareness of architecture and its aesthetic qualities, hence further promoting the idea of safeguarding and care of edifices and of tangible heritage. (shrink)

Aesthetic experience has been relativized and marginalized by recent social and cultural theory. As less attention has been paid to understanding the nature of aesthetic experience than mapping the distributed social correlates of tastes, its transformative potential and capacity to animate actors’ imaginations and actions goes unexplored. In this paper we draw upon a large number of in-depth interviews with performing arts audiences around Australia to investigate the language and discourse used to describe aesthetic experiences. In particular, we begin with (...) theorizations of the subject-object nexus within object-relations theory to consider the transformative potential of aesthetic experience. Using these literatures, and extending them to others within sociology of the arts and materiality, our focus is on the way aesthetic experience can fuse human subjects with aesthetic objects. We examine how viewers take an aesthetic object into themselves and in turn project themselves into the aesthetic object by various visual and imaginative techniques. Our theoretical and empirical analysis bears out the constructive and productive capacity of aesthetic experience. (shrink)

This book is concerned with the continuing viability of both Freud and Hegel to the reading of modern literature. The book begins with Julia Kristeva’s attempts to relate Hegelian thought to a psychoanalytically informed conception of semiotics that was first explored in her influential study, The Revolution of Poetic Language, and then modified in later books that develop semiotics in new directions. Kristeva’s agreements and disagreement with Hegel are important to the book’s argument, which ultimately defends Hegel against familiar, poststructuralist (...) detractions. However, the book’s conceptual argument requires a historical exposition, with chapters devoted to literary figures ranging from Spenser to Ishiguro. One of the purposes of the book is to demonstrate that Hegel’s contribution to modern thought is at least partially exhibited in the history of literature, which also corroborates some of the deeper insights of psychoanalysis. (shrink)

This study examines the complex relation between spatial experience and aesthetic experience. It is argued that spatial experience specifically in the context of everyday spaces makes it possible to experience them aesthetically as well. A wide selection of research ranging from environmental and philosophical aesthetics to architectural theory, psychology, human geography, and other relevant disciplines is employed in order to achieve a more detailed picture of how spatial experience is formed in the first place. This experience is described mainly (...) in terms of phenomenology but is then related to other ways of understanding experiences and their prerequisites. -/- Different notions of space and spatiality and a more comprehensive articulation of the relation of perception to spatial experience, sensory perception, and how senses contribute to spatial experience are in the focus of attention at the beginning of the study. Different experiential layers that can be distinguished within the space which is closest experienced are explored. Interaction with environment is discussed and the notion of preaesthetic is presented to clarify the relation between the two different types of experiences. Following this, the notion of preaesthetic is studied against eminent notions such as aesthetic attitude and aesthetic engagement that show elements that have traditionally been considered to either lead to or define aesthetic experiences. -/- This study shows that the effect that spatial experience has on revealing aesthetic potentialities in everyday environments is far more complicated than has previously been understood. Due to its contingent qualities, spatial experience sometimes leads to "failed" aesthetic experiences even in situations where there is obvious aesthetic potentiality. Even though there are some overlapping qualities in spatial and aesthetic experiences, they cannot thus be equated, as has more or less been done in different branches studying the topics of art and architectural experiences, for example. In the final part of the study, some possible directions for future research are pointed out and the application possibilities of these new developments in aesthetic theory are presented by short case studies, in which a closer look is taken into a chosen set of urban everyday spaces. (shrink)

In considering Kant’s response to the Leibnizian theory of space in the Transcendental Aesthetic, scholars have overwhelmingly emphasized Kant’s response to Leibniz’s relationalism. They have largely missed the metaphysically realistic aspects of Leibniz’s theory with which Kant is primarily concerned. As such, scholars have failed to appreciate the threat Leibniz’s theory poses to Kant’s idealism, a point made publicly as early as 1786 by H. A. Pistorius. I argue that the Aesthetic does indeed contain a compelling argument against the (...) Leibnizian theory of space. This argument crucially depends upon Kant’s claim that space is monistic: that the whole of space is prior to the parts of space and, as such, spatial representations are not decomposable. (shrink)

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

In this research we will examine the paradox nature of self-reference. This concept appears in the form of pure feedback loops in language and mathematics and naturally extends towards many different domains such as biology, sociology, art and philosophy. The basic elements of human experience show the manifestations of such loops. Their results are noticeable in internal or external, mental or body processes. Our interest with these loops focuses on the domain of brain processes in observing, thinking and interpreting as (...) it is meticulously analysed in the books Gödel Escher Bach and I Am a Strange Loop. Through the interactive artistic experiments ‘Ouroboros VR Self-Reference Apparatus’ by John Bardakos (2015) and ‘Anima’ by Elhem Younes (2016) we explore applied and theoretical concepts and experiences in logic, dream aesthetics and the human creativity. These experiments were conducted using ‘perception’ as a natural model of aesthetics generator via self-reference. Within this model, the loops were enriched with an artistic metamorphose of data from measurements of the human space to the aesthetic objects in the virtual space. Through the quantifiable perception feedback loop and the digital interaction, the spectator changes his role and becomes an active artist expressing himself or herself to a digital output with the support of data. The now post-conscious artist, with the use of visual and audio-visual tool sets, observes the fusion of art technology and aesthetics being transformed into basic elements that form consciousness. (shrink)

: An appeal is made to the foot travels of Matsuo Basho, especially his 1689 journey to northern Japan, reflected in his Narrow Road to the Interior, as examples of wandering. It is suggested that while the travels of a poetwanderer such as Basho are notably distinct from shamanic travels in some respects, they are similar in other important ways, for example in their capacity to give perspective to our everyday experience. Based on Basho's example, three aspects of wandering are (...) discussed that may be of aesthetic interest, and it is concluded that in the face of various technological and social developments in industrial societies that increasingly alienate us from our environment, wandering may help us to recover a sense of the depth of space, the real diversity of places, and our human lives in the larger context of nature. (shrink)

Jacques Rancière is one of the central figures in the contemporary debates on aesthetics and politics. This introduction maps the shift of focus in Rancière’s writing from political theory to contemporary art practice and also traces the enduring interest in ideas on equality and creativity. It situates Rancière’s rich body of writing in relation to key theorists such as the philosopher Alain Badiou, art historian Terry Smith and anthropologist George E. Marcus. I argue that Rancière offers a distinctive approach (...) in this broad field by clarifying the specificity of the artist’s task in the production of critical and creative transformation, or what he calls the ‘distribution of the sensible’. In conclusion, I complement Rancière’s invocation to break out of the oppositional paradigm in which the political and aesthetic are usually confined by outlining some further methodological techniques for addressing contemporary art. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC, has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

본 논문의 목적은 광릉숲이 대중들의 생태미학적 숲체험 공간으로 거듭나야 한다는 사실을 밝히고, 이를 위해서 필요한 것이 무엇인가를 논구하는 것이다. 연구의 결과는 다음과 같다. 먼저 뵈메에 의해 주창된 생태적 자연미학의 관점에서 볼 때, 대중들이 일상에서 몸으로 감지하는 것과 동떨어진 숲은 소외된 숲이라 할 수 있다. 광릉숲이 그 위상에 걸맞은 숲으로 거듭나기 위해서는 대중들이 몸으로 감지하는 것과 동떨어져 있는 이른바 태고의 숲으로 머무는 데서 벗어나야 하며, 동시에 에너지를 충전하는 휴식의 공간으로 그치는 데에서도 벗어나야 한다. 그렇지 않을 경우, 아무리 객관적으로 높은 가치를 지닌 (...) 숲이라고 하더라도 결국에는 소외된 숲에 머물 수밖에 없다. 요컨대 대단히 광활하고, 이질적인 요소들이 섞여 있는 현재의 광릉숲이 생태미학적 숲체험의 공간으로 거듭나려면 말 그대로 ‘숲’ 중심으로 다시 구획지어져야 하고, 그에 상응하여 광릉숲 여러 곳의 현재 명칭이 새롭게 바뀌어야 하며, 이른바 미개방공간의 한시적 개방 등이 의미있는 숲체험에 초점이 맞춰져서 이루어져야 할 뿐만 아니라, 광릉숲에 관한 생태적 숲미학의 담론이 활성화되어야 한다. (shrink)

The central premise of this book is that biblical Hebrew narrative, in terms of its structure, tends to operate under similar mechanical constraints to those of a stage-play; wherein space is central, characters are fluid, and objects within the narrative tend to take on a deep internal significance. The smaller episodic narrative units within the Hebrew aesthetic tend to grant primacy to space, both ideologically and at the mechanical level of the text itself. However space, as a (...) determinate structural category, has been all but overlooked in the field of biblical studies to date; reflecting perhaps our own inability, as modern readers, to see beyond the dominant cinematic aesthetic of our times. The book is divided into two major sections, each beginning with a more theoretical approach to the function of narrative space, and ending with a practical application of the previous discussion; using Genesis 28:10-22 (the Bethel narrative) and the book of Ruth respectively, as test cases.Where does the notion of free will come from? How and when did it develop, and what did that development involve? In Michael Frede's radically new account of the history of this idea, the notion of a free will emerged from powerful assumptions about the relation between divine providence, correctness of individual choice, and self-enslavement due to incorrect choice. Anchoring his discussion in Stoicism, Frede begins with Aristotle--who, he argues, had no notion of a free will--and ends with Augustine. Frede shows that Augustine, far from originating the idea (as is often claimed), derived most of his thinking about it from the Stoicism developed by Epictetus. (shrink)

The six essays presented in this volume afford the English-reading public the first serious and considered overview of the uniquely Germanic movements of psychological aesthetics and Kunstwissenschaft.

AbstractThe sculptor Olafur Eliasson produces works together with his team that have two main goals: first, he intends to sensitize our daily perception of the world and our surroundings, and second, Eliasson’s works are not only works of art, but they also explore nature, the physical properties of light, of energy, of water, and other elements. With the famous project Little Suns, small plastic lamps with LED light bulbs and solar cells, he contributes to the amelioration of daily life for (...) those who do not have access to electricity even today. In other works he focuses on elementary phenomena such as the movement of elements in a vortex of water or air, on the properties of light, of mirrored light, or the fascinating world of kaleidoscopes. Some of these works are very popular and often include visitors such as the Weather Project in the Turbine Hall of the Tate Modern in London created in 2003. This work is said to have provoked spontaneous meetings, celebrations, and even episodes of civil protest. The work turned the museum into a kind of agora, the public square in Ancient Greek cities that was at the heart of daily life, of politics, of democratic practices. (shrink)

I: Environmental aesthetics -- A phenomenological aesthetics of environment -- Aesthetic dimensions of environmental design -- Down the garden path -- The wilderness city : a study of metaphorical experience -- Aesthetics of the coastal environment -- The world from the water -- Is there life in virtual space? -- Is greasy lake a place? -- Embodied music -- II: Social aesthetics -- The idea of a cultural aesthetic -- The social evaluation of art -- (...) Subsidization of art as social policy -- Morality and the artist : toward an ethics of art -- Getting along beautifully : ideas for a social aesthetics. (shrink)

Recent debates among scholars in Literature education have led to polarizing views about the aims of the subject. The debate reignites ancient quarrels about the aesthetic and political values of literary study and relatedly, the different pedagogical approaches to teaching. In the first part of this paper, I explore the aesthetic-political divide in Literature education paying particular attention to how this was reinforced by New Criticism and Poststructuralist Criticism as these were key movements that have had a significant influence on (...) the teaching of Literature in schools. More importantly, I argue that such a divide exemplified the different goals of the West, in which Literature education originated as a platform for the cultivation of taste, and Postcolonial countries, in which the subject was utilized as a political tool for colonization resulting in acts of mimicry and subversion among colonized subjects. In the second part of the paper, I apply third space theory to disrupt the aesthetic-political divide. I discuss the need to create third spaces in Literature classrooms that are critical, inclusive, negotiated and ethical allowing students to engage with aesthetic, political and ethical dimensions of literature. (shrink)

I take up Kant's remarks about a " transcendental deduction" of the "concepts of space and time". I argue for the need to make a clearer assessment of the philosophical resources of the Aesthetic in order to account for this transcendental deduction. Special attention needs to be given to the fact that the central task of the Aesthetic is simply the "exposition" of these concepts. The Metaphysical Exposition reflects upon facts about our usage to reveal our commitment to the (...) idea that these concepts refer to pure intuitions. But the legitimacy of these concepts still hangs in the balance: these concepts may turn out to refer to nothing real at all. The subsequent Transcendental Exposition addresses this issue. The objective validity of the concepts of space and time, and hence their transcendental deduction, hinges on careful treatment of this last point. (shrink)